To the Fore with the Tanks! — Themes and Context

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Westerman, Percy F. (Percy Francis), 1876-1959 Project Gutenberg 2016 Not confirmed
War stories; Adventure stories; World War, 1914-1918 -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 51,790
Reading time 226 min
Text sections 7

To the Fore with the Tanks! — Themes and Context can be approached with a clearer sense of reading commitment from its source measurements: 51,790 words, 3 hr 46 min estimated reading time, and 7 detected text sections.

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Percy F. Westerman's 1917 war story follows the Second Wheatshires from muddy training grounds to tank warfare on the Somme, with precise technical descriptions of early armored vehicles and the gritty reality of trench combat.
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Editorial Edition Score 4.7/5

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  • Title & short description10 pts
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CHAPTER I. TO THE FRONT II. THE COMMUNICATION TRENCH III. THE NIGHT ATTACK IV. GRUB V. THE EXPEDITION TO NO MAN'S LAND VI. A PRISONER OF WAR VII. THE FIRST ADVANCE VIII. CUT OFF IX. THE ADVANCE OF THE TANKS X. THE WRECKED LANDSHIP XI. AN INTERVIEW WITH THE C.O. XII. "THE BEST OF LUCK" XIII. THE BEGINNING OF THE GREATER PUSH XIV. THE COMMAND OF A TANK XV. THE BOGGED LANDSHIP XVI. ALDERHAME'S GOOD SHOT XVII. THE SPY XVIII. THE STRUGGLE FOR NEANCOURT VILLAGE XIX. THE MINED TUNNEL XX. THE FALL OF THE VON DER GOLZ REDOUBT XXI. TRAPPED XXII. TANK VERSUS LOCOMOTIVE XVIII. THE LAST STAND

TO THE FORE WITH THE TANKS!

THE jolting cattle-trucks pulled up with a disconcerting jerk at the termination of a fifty-mile railway journey, performed in the remarkably record time of fifteen hours.

From a springless truck, on which was painted the legend, "40 hommes ou 8 chevaux," descended fifty-two tired but elated Tommies, thirsty, ravenously hungry, but quite able to keep up a bantering conversation with the peasants who had gathered by the side of the temporary line.

It was a miserable night, even for the Somme district in early March. Rain was falling solidly. The ground was churned into deep mud of the consistency of treacle. The gaunt gables of a dozen roofless houses, silhouetted against the constant glare in the sky, betokened ruined homes and uncomfortable billets; while the loud rumble of distant artillery was in itself ample proof that at last the Second Wheatshires had arrived somewhere on the Western Front--the goal of six months' constant and arduous training.

Into the squelching mud the men stepped blithely. They were used to it by this time. The double line of khaki-clad figures, showing dimly through the darkness, shuffled impatiently. Here and there a man would "hike" his pack to relieve the weight of the webbing equipment over his shoulders, or sling his rifle while he lighted the almost inseparable "fag." The distant flashes of the heavy guns glinted from the wet "tin-hats" of the Tommies, as the unaccustomed head-gear wobbled with every movement of the wearer's head. The issue of steel trench helmets given before the commencement of the railway journey had confirmed the rumour of the past fortnight--that No. 3 Platoon was to be sent to join the rest of the battalion at the Front.

"Ah, well, 'tis certain he hath crossed River Somme,'" quoted Private Graham Alderhame formerly of the Shakesperian Repertoire Company and now a humble foot-slogging Tommy in a noted Line Regiment. "Well, if this is across the Somme I don't think much of it. Another ten miles by motor-bus, I suppose, and then something in the way of grub. Got a cigarette on you, dear boy?"

Private Ralph Setley, who seven months previously had been a bank-clerk in a busy provincial town, placed his rifle against a pile of equipment that was serenely resting in the mud, and fumbled for a packet of smokes. Then, having handed one of the contents to his chum, he struck a match.

The light flickered upon the honest, deeply tanned features of a typical British lad of about nineteen or twenty. In spite of a day of extreme discomfort in the over-crowded horse-box which the French Government placed at the disposal of Allied troops, his eyes twinkled with the excitement of the moment. At last he was within sound of the guns, and more, the chance of meeting a Hun was within measurable distance.

Having lighted Alderhame's cigarette and his own, Setley was about to throw the vilely sulphurous match to the ground when another voice interposed:

"Hold hard, chum. Let's have a light."

Ralph was about to comply with the request when a hand shot out and sent the still flaring match flying through the air.

"What's that for, George?" asked the disappointed applicant for a light, with mingled truculence and resentment.

"'Cause 'tain't for no good; third chap as 'as a light from the same match allus goes West--honest fact," replied Ginger Anderson, a short, wiry man, who, according to his attestation papers, used to be a gamekeeper, although others of his platoon swore that he had been convicted three times for poaching.

"Listen!" exclaimed Alderhame, placing a hand on Setley's shoulder.

A short distance along the double line of waiting Tommies a hungry Kentish man was endeavouring to persuade an ancient _paysanne_ to sell some eggs. Judging by the man's injured tone his efforts were not meeting with success.

"Wot, no compree?" he asked. "Des woffs, des woffs. Blimey, these old Frenchies don't understand their own bloomin' language. Woffs, I said, missis--them wot we calls heggs."

The novel opens with a jolting cattle-truck journey that sets the tone: the Second Wheatshires arrive at the Somme front in miserable March rain, stepping into "deep mud of the consistency of treacle." Westerman immediately establishes a documentary-like attention to material details—the painted legend "40 hommes ou 8 chevaux," the issue of steel trench helmets, and the distant rumble of artillery. The men are tired but elated, their banter contrasting with the ruined landscape of roofless houses silhouetted against a constant glare. This opening grounds the reader in the physical discomfort and grim reality of the Western Front, while hinting at the technical innovations (like the tanks) that will later dominate the narrative.

From Mud to Machinery

The early chapters immerse readers in the infantryman's experience: communication trenches, night attacks, and the peculiar routines of "Grub." Westerman's prose is lean and factual, avoiding melodrama. The mud is a constant presence—squelching, treacle-like, churned by boots and shells. When the narrative shifts to the tanks, the description becomes even more technical. The tank is described as a "mammoth charger" with a "tail" of wheels for steering, capable of making a half turn by reversing one tractor band. The author takes care to explain how the tank flattens barbed wire and crushes machine-gun emplacements, often with a clinical precision that suggests firsthand or researched knowledge of early armored warfare.

The Tank as Character

Westerman personifies the tank without anthropomorphizing it. It is "grimly and remorselessly" set to squash a "viper's nest." The machine's weight—"200 tons dead weight"—is a recurring detail, as is its ability to pivot in its own length. The tank's actions are described in mechanical terms: "climbing the rising ground with consummate ease" or "toppling" a cupola. Yet the crew inside, particularly Ralph Setley, remain the focus. The tank is a tool, not a hero; the heroism lies in the men who operate it. This balance between technical exposition and human action gives the novel a distinctive texture, part war manual, part adventure story.

Encounters with the Enemy

The excerpts show a nuanced portrayal of German soldiers. Some fight to the last, believing "no quarter is accorded to machine-gunners." Others bolt and surrender, shouting "Kamerad." The final excerpt features a lone Hun who refuses to yield, standing with bayonet at the ready. Westerman avoids caricature: the Germans are capable of both dogged resistance and desperate surrender. The British soldiers, like the Cockney bomber Ginger, are equally varied—efficient, sometimes merciful, but always alert. The dialogue is sparse but effective, as when Ginger tells a prisoner, "Course you'll save your hide, Fritz."

A World of Dug-outs and Ruins

The setting is relentlessly physical: roofless houses, crater-pitted earth, caved-in dug-outs, and barbed wire reduced to "scorched posts and short fragments of twisted wire." Westerman uses these details to create a landscape of destruction that is both specific and symbolic. The tank moves through this environment with a kind of brutal purpose, but the infantry remain vulnerable, slogging through mud and dodging shells. The contrast between the tank's armored invulnerability and the exposed infantryman is a quiet theme. Even the tank can be bogged or mined, as Setley suspects when he notes an "invitingly open" path that might conceal a pit.

Readers should attend to Westerman's technical vocabulary—terms like "tractor band," "cupola," and "Mills bomb"—which ground the fiction in contemporary military reality. The narrative moves briskly from set piece to set piece, but the most memorable passages are those where the author slows down to describe a machine's operation or a soldier's weary gesture. This is a book that rewards attention to its physical world: the weight of a pack, the wobble of a tin hat, the consistency of mud. Approach it as a period artifact that values accuracy over sentiment.

When I finished To the Fore with the Tanks!, I kept thinking about how machines become strangely personal in wartime—that quiet, odd intimacy with metal and noise. Since then, I found myself lingering on Cynthia Steps Out — Edition Insights with a similar warmth, though gentler. It’s less about mud, more about small, hesitant steps toward one’s own light. Both left me holding something tender that wasn’t there before.

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