Trenching at Gallipoli: The personal narrative of a Newfoundlander with the ill-fated Dardanelles expedition — John Shaqi
Trenching at Gallipoli: The personal narrative of a Newfoundlander with the ill-fated Dardanelles expeditionGallishaw, John
History
Trenching at Gallipoli: The personal narrative of a Newfoundlander with the ill-fated Dardanelles expedition
Gallishaw, John
World War, 1914-1918 -- Campaigns -- Turkey -- Gallipoli Peninsula; World War, 1914-1918 -- Personal narratives, Canadian
While Art was gone, I strolled down the ravine a little way to where
some of the Royal Engineers were quartered. The Royal Engineers are
the men who are looked on in training as a noncombatant force, with
safe jobs. In war-time they do no fighting, but their safe jobs
consist of such harmless work as fixing up barbed wire in front of the
parapet and setting mines under the enemy's trenches. For a rest they
are allowed to conduct parties to listening posts and to give the
lines for advance saps. Sometimes they make loopholes in the parapet,
or bolster up some redoubt that is being shelled to pieces. The Turks
were sending over their compliments just as I came abreast of the
Engineers' lines. One of the engineers was sifting some gravel when
the first shell landed. He dropped the sieve, and turned a back
somersault into some gorse-bushes just behind him. The sieve rolled
down, swayed from side to side, and settled close to my head, in the
depression where I was conscientiously emulating an ostrich. I
gathered it to my bosom tenderly and began crawling away. From behind
a boulder I heard the engineer bemoaning to an officer the loss of his
sieve, and he described in detail how a huge shell had blown it out of
his hands. Joyfully I returned to Art with my prize.
"What's that for?" said Art.
"Turn it upside down," I said, "and it's a steak broiler."
"Where did you get it?" said Art.
I told him, and related how the engineer had explained it to his
officer.
Up at the field kitchen a group was standing around.
"What's the excitement?" I asked Art.
"Those fellows are a crowd of thieves," answered Art, virtuously.
"They're looking about to see what they can steal. I was up there a
few minutes ago and saw a can of condensed milk lying on the shaft of
the field kitchen. They were watching me too closely to give me a
chance, but you might be able to get away with it."
The two of us strolled up slowly to where Hebe Wheeler, the creative
artist who did our cooking, was holding forth to a critical audience.
"It's all very well to talk about giving you things to eat, but I
can't cook pancakes without baking powder. You can't get blood out of
a turnip. I'd give you the stuff if I got it to cook, but I don't get
it, do I, Corporal?" said Hebe, appealing to me.
I moved over and stood with my back to the shaft on which rested the
tin of condensed milk.
"No, Hebe," I said, "you don't get the things; and when you do get
them, this crowd steals them on you."
"By God," said Hebe, "that's got to be put a stop to. I'll report the
next man I find stealing anything from the cookhouse."
Public-domain text, read in full here on John Shaqi.
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