The War-Workers — Themes and Context

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Delafield, E. M., 1890-1943 Project Gutenberg 2011 Not confirmed
Satire; World War, 1914-1918 -- Fiction; World War, 1914-1918 -- War work -- England -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 80,093
Reading time 349 min
Text sections 8

The source record for The War-Workers — Themes and Context measures this digital text at 80,093 words, 5 hr 49 min estimated reading time, and 8 detected text sections.

The text analysis averages about 14.6 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Satire,” connecting these edition facts with the source record’s subject description.

A satirical novel set in a WWI volunteer depot, where the staff's obsessive gossip about their director reveals more about their own petty rivalries than the war effort.
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Editorial Edition Score 4.7/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

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Read the Text

There was a low scoffing laugh from her neighbour.

"Miss Vivian cutting bread-and-butter! She does quite enough without that, Henderson. She had the D.G.V.O. in there yesterday afternoon for ages. I thought he was _never_ going. I stood outside her door for half an hour, I should think, absolutely hung up over the whole of my work, and I knew she was fearfully busy herself."

"It's all very well for you, Miss Delmege—you're her secretary and work in her room, but _we_ can't get at her unless we're sent for. I simply didn't know what to do about those surgical supplies for the Town Hospital this morning, and Miss Vivian never sent for me till past eleven o'clock. It simply wasted half my morning."

"She didn't have a minute; the telephone was going the whole time," said Miss Delmege quickly. "But yesterday, you know, when the D.G.V.O. wouldn't go, I thought she was going to be late at the station for that troop-train, and things were fairly desperate, so what d'you suppose I did?"

"Dashed into her room and got your head snapped off?" some one suggested languidly. "I shall never forget one day last week when _I_ didn't know which way to _turn_, we were so busy, and I went in without being sent for, and Miss Vivian--"

"Oh yes, I remember," said Miss Delmege rapidly. She was a tall girl with eyeglasses and a superior manner. She did not remember Miss Marsh's irruption into her chief's sanctum with any particular clearness, but she was anxious to finish her own anecdote. "But as _I_ was telling you," she hurried on, affecting to be unaware that Miss Marsh and her neighbour were exchanging glances, "when I saw that it was getting later every minute, and the D.G.V.O. seemed rooted to the spot, I simply went straight downstairs and rang up Miss Vivian on the telephone. Miss Cox was on telephone duty, and she was absolutely horrified. She said, 'You _don't_ mean to say you're going to ring up Miss Vivian,' she said; and I said, 'Yes, I am. Yes, I am,' I said, and I did it. Miss Cox simply couldn't get over it."

Miss Delmege paused to laugh in solitary enjoyment of her story.

"'Who's there?' Miss Vivian said—you know what she's like when she's in a hurry. 'It's Miss Delmege,' I said. 'I thought you might want to know that the train will be in at eight o'clock, Miss Vivian, and it's half-past seven now.' She just said 'Thank you,' and rang off; but she must have told the D.G.V.O., because he came downstairs two minutes later. And she simply flung on her hat and dashed down into the car and to the station."

"And, after all, the train wasn't in till past ten, so she might just as well have stayed to put her hat on straight," said Miss Henderson boldly. She had a reputation for being "downright" of which she was aware, and which she strenuously sought to maintain by occasionally making small oblique sallies at Miss Vivian's expense.

"I must say it was most awfully crooked. I noticed it myself," said a pretty little giggling girl whom the others always called Tony, because her surname was Anthony. "How killing," I thought; "there's Miss Vivian with her hat on quite crooked."

"Yes, wasn't it killing?"

"Simply killing. I thought the minute I saw her: How killing to see Miss Vivian with her hat on like that!"

"She looked perfectly killing hurrying down the platform," remarked Miss Marsh, with an air of originality. "She was carrying cigarettes for the men, and her hat got crookeder every minute. I was pining to tell her."

"Go on, Marshy! She'd have had your head off. Fancy Marsh stopping Miss Vivian in the middle of a troop-train to say her hat was on crooked!"

"I should think she'd be shot at dawn," suggested Tony. "That's the official penalty for making personal remarks to your C.O., I believe."

"You know," said Miss Delmege, in the tones whose refinement was always calculated to show up the unmodulated accents of her neighbours, "one day I absolutely did tell Miss Vivian when her hat was crooked. I said right out: 'Do excuse me, Miss Vivian, but your hat isn't quite straight.' She didn't mind a _bit_."

"I suppose she knows she always looks nice anyway," said Tony easily.

"I mean she didn't mind me telling her," explained Miss Delmege. "She's most awfully human, you know, really. That's what I like about Miss Vivian. She's so frightfully human."

"Yes, she _is_ human," Miss Marsh agreed. "Awfully human."

Miss Delmege raised her eyebrows.

The Midland Supply Depôt, as E.M. Delafield stresses in her foreword, has no real-life counterpart, yet the novel’s opening scene immediately grounds the reader in a recognizable social microcosm: the Hostel for Voluntary Workers in Questerham. Here, half a dozen women, exhausted from a day’s work, discuss not the war but their director, Miss Vivian. The conversation is a masterclass in indirect characterization—through their defensive anecdotes, flattery, and veiled complaints, Delafield sketches a hierarchy of sycophants and rivals long before Miss Vivian appears.

Gossip as a Mirror of Workplace Dynamics

The excerpts show that nearly every exchange among the workers orbits Miss Vivian. They debate whether she looked tired, recount her interactions with the D.G.V.O., and compete to demonstrate their intimacy with her. Miss Delmege, the secretary, repeatedly interrupts others to finish her own stories, while Miss Marsh offers barbed remarks about being “snapped off.” This gossip is not idle; it reveals a pecking order. Those who have direct access to Miss Vivian—like Delmege—wield it as status, while those who don’t, like Henderson, complain of being ignored. Delafield’s dialogue captures the precise rhythms of office politics: the rushed interruptions, the defensive justifications, and the way a shared admiration for the boss masks deep-seated competition.

The Language of Wardrobe and Class

Delafield uses fashion talk to expose social pretensions. Miss Delmege’s “almost technical vocabulary of descriptive adjectives” for clothes—such as “saxe,” “mole,” “nigger,” and “elephant”—is a marker of her desire to appear distinctive. She discusses pleats and shades with Grace, but the conversation is undercut by others’ indifference. When Miss Plumtree arrives, the room’s attention shifts entirely, leaving Delmege to elaborate her wardrobe plans to a single listener. The author subtly contrasts Delmege’s self-absorption with the practical concerns of war work: the “blister” on Henderson’s finger from cutting sandwiches for troop-trains. This juxtaposition underscores how the women’s energies are split between genuine service and social performance.

The Absent Director as a Centrifugal Force

Miss Vivian is discussed constantly but never appears in the excerpts. She is described as “awfully tired,” “fearfully busy,” and “desperately human,” yet these are secondhand reports. The workers project onto her their own anxieties and ambitions. Delmege calls her “frightfully human” after recounting a phone call where Miss Vivian used the nickname “Brucey.” The phrase is repeated with ironic reverence. Meanwhile, the news that Miss Vivian will stay at the Hostel provokes a chorus of astonishment, suggesting her presence is both desired and disruptive. Delafield builds the director as a gravitational center whose actual character remains opaque, forcing the reader to infer it from the fragments of gossip and the reactions she provokes.

Readers should attend to the gap between what the characters say and what Delafield’s irony implies. The catalog subjects label this a satire of war work, but the excerpts suggest the satire is aimed less at the war effort than at the social rituals that persist within it. The novel’s humor emerges from the tension between the workers’ earnest self-regard and the triviality of their concerns—a dynamic that remains recognizable long after the historical setting fades.

The rain kept tapping at the window while I finished the chapter about those quarrelsome volunteers, their gossip spinning like a needle stuck in a groove. Afterwards, I sat awhile thinking how their busy little judgments said everything about themselves, and nothing about the war. That mood drifted me toward the quieter, stranger loneliness of The Pastor's Wife — Text and Context — another story where running the house becomes its own quiet battlefield. The afternoon seemed to go on forever. Somehow, that was exactly right.

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