Latest content added for UNT Digital Library Collection: World War I Collectionhttps://digital.library.unt.edu/explore/collections/WWI/browse/?fq=dc_language:eng&display=list2022-07-01T08:10:57-05:00UNT LibrariesThis is a custom feed for browsing UNT Digital Library Collection: World War I CollectionOral History Interview with Lee E. Johnson, April 21, 19762022-07-01T08:10:57-05:00https://digital.library.unt.edu/ark:/67531/metadc1955188/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1955188/"><img alt="Oral History Interview with Lee E. Johnson, April 21, 1976" title="Oral History Interview with Lee E. Johnson, April 21, 1976" src="https://digital.library.unt.edu/ark:/67531/metadc1955188/small/"/></a></p><p>Interview with Lee E. Johnson, a retired educator, concerning his recollections about military life during World War I. Johnson discusses his education; his enlistment in the Texas National Guard; his training at Pecan Gap; Camp Bowie; the formation of the 36th Division; officers training school at Camp Pike, Arkansas; embarkation for France; Saint-Amand and Saint-Nazairre.</p>Oral History Interview with Frederick E. Gaupp, November 3, 19732022-04-26T20:12:02-05:00https://digital.library.unt.edu/ark:/67531/metadc1923874/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1923874/"><img alt="Oral History Interview with Frederick E. Gaupp, November 3, 1973" title="Oral History Interview with Frederick E. Gaupp, November 3, 1973" src="https://digital.library.unt.edu/ark:/67531/metadc1923874/small/"/></a></p><p>Interview with Frederick E. Gaupp, a college professor, concerning the experiences of a German intellectual during the period of the Weimar Republic and the early Hitler years. Gaupp discusses his middle-class family background, his service in World War I with a Rhenish artillery regiment, his education at the University of Breslau, the Sparticist uprising, Kapp Putsch, Freicorps activities, rampant inflation (1923-1924), and the effects of Allied reparations. He also talks about his employment with Ullstein (Berlin) publishing house, fighting between the Brown Shirts and the Communists, the role of the lower middle-class in supporting the Nazis, the Nazi suppression of Ullstein, and his decision to leave Germany in 1935.</p>[Photograph of two solders standing by a shack]2021-01-28T08:15:23-06:00https://digital.library.unt.edu/ark:/67531/metadc1752610/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1752610/"><img alt="[Photograph of two solders standing by a shack]" title="[Photograph of two solders standing by a shack]" src="https://digital.library.unt.edu/ark:/67531/metadc1752610/small/"/></a></p><p>Photograph of two soilders standing next to a shack with the words, "When do we go home? 1924" written on it. At the bottom of the photograph is written, "We all felt this way."</p>[Letter from Sam T. Williams to his Mother and family, November 6, 1918]2021-01-28T08:15:22-06:00https://digital.library.unt.edu/ark:/67531/metadc1752609/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1752609/"><img alt="[Letter from Sam T. Williams to his Mother and family, November 6, 1918]" title="[Letter from Sam T. Williams to his Mother and family, November 6, 1918]" src="https://digital.library.unt.edu/ark:/67531/metadc1752609/small/"/></a></p><p>Letter from Sam T. Williams to his Mother, Ida Williams and family, November 6, 1918. Envelope addressed to Mrs. Ida Williams, 1919-01-06.</p>[Letter from Chaplain J. E. Doherty to Miss Shafford, October 13, 1918]2021-01-28T08:15:22-06:00https://digital.library.unt.edu/ark:/67531/metadc1752608/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1752608/"><img alt="[Letter from Chaplain J. E. Doherty to Miss Shafford, October 13, 1918]" title="[Letter from Chaplain J. E. Doherty to Miss Shafford, October 13, 1918]" src="https://digital.library.unt.edu/ark:/67531/metadc1752608/small/"/></a></p><p>Letter from Chaplain J. E. Doherty to Miss Shafford, October 13, 1918. In the letter, Doherty is inquiring about their friend in the war and their well-being. Writteno on the envelope reads "Letter, 1918, With U.S. Flag On it, Concerning the well-being of a friend of Miss Shafford in World War".</p>[Letter from Haskell E. Dishman to his Mother, November 8, 1918]2021-01-28T08:15:21-06:00https://digital.library.unt.edu/ark:/67531/metadc1752605/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1752605/"><img alt="[Letter from Haskell E. Dishman to his Mother, November 8, 1918]" title="[Letter from Haskell E. Dishman to his Mother, November 8, 1918]" src="https://digital.library.unt.edu/ark:/67531/metadc1752605/small/"/></a></p><p>Letter from Haskell E. Dishman to his Mother, November 8, 1919, written from somewhere in France. In his letter, Dishman tells his mother that he is getting around after two weeks in bed.</p>[Letter from a Army Wife to a Adjutant of the Army]2021-01-28T08:15:21-06:00https://digital.library.unt.edu/ark:/67531/metadc1752607/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1752607/"><img alt="[Letter from a Army Wife to a Adjutant of the Army]" title="[Letter from a Army Wife to a Adjutant of the Army]" src="https://digital.library.unt.edu/ark:/67531/metadc1752607/small/"/></a></p><p>A letter from an unidentified army wife, self-described as "World War Wife" to a Adjutant of the Army where her husband is stationed, circa 1918. In the letter she is requesting the money that her husband is making while in the army to afford clothing and food for her family.</p>[Western Union telegraph on Dishman family]2021-01-28T08:15:21-06:00https://digital.library.unt.edu/ark:/67531/metadc1752606/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1752606/"><img alt="[Western Union telegraph on Dishman family]" title="[Western Union telegraph on Dishman family]" src="https://digital.library.unt.edu/ark:/67531/metadc1752606/small/"/></a></p><p>A telegraph from The Western Union Telegraph Company containing information about Haskell E. Dishman's family, residents of Denton, Texas, cira 1918.</p>[Letter from Lt. Mack, B. Hodges to his parents, July 2, 1919]2021-01-28T08:15:19-06:00https://digital.library.unt.edu/ark:/67531/metadc1752603/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1752603/"><img alt="[Letter from Lt. Mack, B. Hodges to his parents, July 2, 1919]" title="[Letter from Lt. Mack, B. Hodges to his parents, July 2, 1919]" src="https://digital.library.unt.edu/ark:/67531/metadc1752603/small/"/></a></p><p>Letter from Lt. Mack B. Hodges to his parents, July 2, 1919, letting his parents know that he is fine and doing well and that he will write them more letters.</p>[Envelope addressed to Joel D. Wrotan in Greenville, MS]2021-01-28T08:15:19-06:00https://digital.library.unt.edu/ark:/67531/metadc1752604/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1752604/"><img alt="[Envelope addressed to Joel D. Wrotan in Greenville, MS]" title="[Envelope addressed to Joel D. Wrotan in Greenville, MS]" src="https://digital.library.unt.edu/ark:/67531/metadc1752604/small/"/></a></p><p>Envelope addressed to Joel D. Wrotan in Greenville, MS, labeled "Conditions in Vicksburg 1941," from the State Historical Collection at North Texas State Teachers College in Denton, Texas.</p>[Letter from Haskell E. Dishman to his Mother, November 8, 1918]2021-01-28T08:15:18-06:00https://digital.library.unt.edu/ark:/67531/metadc1752601/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1752601/"><img alt="[Letter from Haskell E. Dishman to his Mother, November 8, 1918]" title="[Letter from Haskell E. Dishman to his Mother, November 8, 1918]" src="https://digital.library.unt.edu/ark:/67531/metadc1752601/small/"/></a></p><p>Letter from Haskell E. Dishman to his Mother, November 8th, 1918 from somewhere in France. Dishman writes to his mother that he is mobile again after being bed-ridden for two weeks.</p>[Letter from Mrs. A. F. Smith to Dr. J. E. Stover, December 2, 1918]2021-01-28T08:15:18-06:00https://digital.library.unt.edu/ark:/67531/metadc1752602/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1752602/"><img alt="[Letter from Mrs. A. F. Smith to Dr. J. E. Stover, December 2, 1918]" title="[Letter from Mrs. A. F. Smith to Dr. J. E. Stover, December 2, 1918]" src="https://digital.library.unt.edu/ark:/67531/metadc1752602/small/"/></a></p><p>Letter from Mrs. A. F. Smith to Dr. J. E. Stover, December 2, 1918, in regards to a picture of her son, and wanting the picture returned.</p>[The Flying Parliament]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703675/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703675/"><img alt="[The Flying Parliament]" title="[The Flying Parliament]" src="https://digital.library.unt.edu/ark:/67531/metadc1703675/small/"/></a></p><p>Photographs of "The Flying Parliament" by Edwina S. Babcock, held by UNT Special Collections. The book is open to a dedication page, which is a note written in pen handwriting. The name Donald Thomas 1973 is at the top. On the top left side is the word "Poetry" written in pencil. The cover is red with an intricate gold design over most of the page, the title is in the middle of the cover in gold.</p>[Over Here: War Time Rhymes, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703681/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703681/"><img alt="[Over Here: War Time Rhymes, cover]" title="[Over Here: War Time Rhymes, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703681/small/"/></a></p><p>Photograph of the cover of "Over Here: War Time Rhymes" by Edgar A. Guest, held by UNT Special Collections. The cover is dark blue with the first part of the title in dark blue inside of a gold banner, the rest of the title and author stamped in gold under it.</p>[Swords and Ploughshares]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703683/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703683/"><img alt="[Swords and Ploughshares]" title="[Swords and Ploughshares]" src="https://digital.library.unt.edu/ark:/67531/metadc1703683/small/"/></a></p><p>Photographs of "Swords and Ploughshares" John Drinkwater, held by UNT Special Collections. The first image shows the title page, with the page to the left of it containing a small list of books by the same author. Image 2, poem on page 48 titled "On the Picture of a Private Soldier Who Had Gained a Victoria Cross", the page next to it contains a poem titled "One Speaks In Germany. In “On the Picture of a Private Soldier Who Had Gained a Victoria Cross,” the author calls upon the theme of photography to apply pressure to its revelatory and documentary status. Photographs are not only signs. They are also indexes—that is, they are created by the conditions they record. This adds authority to their status as objective or unmediated by interpretive bias, but such objectivity is an illusion. The alignment of the documentary photo with objectivity forgets the deceptive nature of physical surfaces, how they might exclude or even repress the deeper conflicts of inner life expressed in a poem. In Drinkwater’s poem, the deceptive nature of physical appearance dialogues with the deceptive nature of accolades for valor and the sense of liberation from horrors of the past. Drinkwater thus registers an insight fundamental to new waves of psychoanalytic theory—that is, the burial of trauma constitutes a form of preservation, of intensification even, as opposed to conquest and erasure.</p>[October and Other Poems]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703687/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703687/"><img alt="[October and Other Poems]" title="[October and Other Poems]" src="https://digital.library.unt.edu/ark:/67531/metadc1703687/small/"/></a></p><p>Photographs of "October and Other Poems" by Robert Bridges, held by UNT Special Collections. The book has an old white cover, framed by a black line and the title printed at the top in black. Image 2, "The West Front" and "To the United States of America." Page 32 contains the title of the first one at the top, and page 33 has the other one at the top followed by the date April 1917.</p>[Fifes and Drums: Poems of America at War, The Vigilantes]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703689/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703689/"><img alt="[Fifes and Drums: Poems of America at War, The Vigilantes]" title="[Fifes and Drums: Poems of America at War, The Vigilantes]" src="https://digital.library.unt.edu/ark:/67531/metadc1703689/small/"/></a></p><p>Photographs of "Fifes and Drums: Poems of America at War," held by UNT Special Collections. The brown book cover has the title in dark blue in the top right corner in a white label, framed by a dark blue line. Image 2, title page. On the left page is a list of The Vigilante books inside a box, and on the right page is the title page with a small upside down triangle with the letter D in it.</p>[Flower of Youth: Poems in War Time]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703693/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703693/"><img alt="[Flower of Youth: Poems in War Time]" title="[Flower of Youth: Poems in War Time]" src="https://digital.library.unt.edu/ark:/67531/metadc1703693/small/"/></a></p><p>Photographs of "Flower of Youth: Poems in War Time" by Katharine Tynan, held by UNT Special Collections. Image 1, the spine of the dark blue book with the title on a white label on the spine. Image 2, with the page to the left of it containing a box with the title of books also by Tynan.</p>[The Red Flower: Poems Written in War Time, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703695/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703695/"><img alt="[The Red Flower: Poems Written in War Time, cover]" title="[The Red Flower: Poems Written in War Time, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703695/small/"/></a></p><p>Photograph of the cover of "The Red Flower: Poems Written in War Time" by Henry Van Dyke, held by UNT Special Collections. The cover is white with a dark blue spine, the top of the front contains the title at the top and author at the bottom in dark blue print. In the middle of it is an orange/red flower design.</p>[Sonnets from a Prison Camp, title page]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703699/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703699/"><img alt="[Sonnets from a Prison Camp, title page]" title="[Sonnets from a Prison Camp, title page]" src="https://digital.library.unt.edu/ark:/67531/metadc1703699/small/"/></a></p><p>Photograph of the title page from "Sonnets from a Prison Camp" by Archibald Allan Bowman, held by UNT Special Collections. Scottish philosopher and poet Allan Archibald Bowman (1883-1936) was working as a professor at Princeton University when World War I began. He took a leave of absence in 1915, enlisted in the British Army, and was assigned to the Highland Light Infantry. Three years later, Bowman was taken prisoner by German forces during the Battle of Lys. The poems collected in Sonnets from a Prison Camp were written after Bowman’s capture, between April 27 and July 25, 1918. Most were composed at the Rastatt prison camp, though some were written after Bowman was transferred to Hesepe. The volume itself contains twelve chronologically arranged sections and a clean, minimal layout with one sonnet per page. This neatly bound, 152-page book has a board cover with thread wear on the bottom and top of the spine. A lithographed errata slip on different paper is pasted into the binding and precedes the title page. Part of the Soldier Poets section of the exhibit, Sonnets from a Prison Camp contains poems that reflect on the horrors of war, the boredom of life in a prison camp, and a deep longing for home and peace. Bowman also employs Christian theology to decry the power of “Nations,” asserting that “Earth’s glory sinks confronted with Christ’s cross” (p. 104). In the following sonnet, he writes that the “Commonwealth” cannot “unchallenged claim / To be the First and Last.” There is “a holier Name” (p. 105). Each sonnet includes a date and location, allowing the sequence to function like diary entries, and in his foreword, Bowman notes that during his early days as a prisoner of war, these poems “stood between my soul and madness” (p. v). The author then goes on to thank Captain Honholz (Commandant of the Hesepe prison camp), “to whose kindness I owe it that I am able to offer the sonnets as they stand” (p vi). Given his status as a prisoner of war, Bowman’s writing—not only his access to pen and paper, but the very act itself—was contingent upon the permission of his captors.</p>[From an Outpost and Other Poems, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703703/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703703/"><img alt="[From an Outpost and Other Poems, cover]" title="[From an Outpost and Other Poems, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703703/small/"/></a></p><p>Photograph of the cover of "From an Outpost and Other Poems" by Leslie Coulson, held by UNT Special Collections. The white paper cover has a thin orange line that frames the title, followed by a photo of a young man and the author under the picture all in orange tint.</p>[Naked Warriors, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703705/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703705/"><img alt="[Naked Warriors, cover]" title="[Naked Warriors, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703705/small/"/></a></p><p>Photograph of "Naked Warriors" by Herbert Read, held by UNT Special Collections. In 1917, poet and literary critic Herbert Read co-founded the avant-garde quarterly journal Arts and Letters, which in 1919 published Read’s book Naked Warriors. (The volume’s first section “Kneeshaw Goes to War” originally appeared in Arts and Letters, as noted in the contents.) This sixty-page volume of poetry and prose explores the arc of the British soldier’s combat experience in World War I. Read, who served in the war and was awarded both the Distinguished Service Order and the Military Cross, includes an epigraph before each section, visually separating sections that are joined by a thematic progression rather than common characters. Before the contents page, readers encounter a six-line poem entitled “Parody of a Forgotten Beauty” and a one-paragraph preface in which Read encourages his generation to “strive to create a beauty where hitherto it has had no absolute existence” (5). This desire is reflected in the cover illustration, thought to be the work of artist Wyndham Lewis. The central figure employs Vorticism, an early twentieth-century British art movement using a form of urban cubism to express the dynamism of the modern world. The book is bound in textured, tan paper boards printed in striking red, featuring the title, Vorticist illustration, author, and price (“three shillings net”) on the front cover, and information on the journal Arts and Letters on the back cover. The front leaf of this copy is inscribed “T. A. Lamb, from W. R. Childe. 8.4.1919” under the title. Considering the place of publication and publisher, we can speculate that this copy was given to T. A. Lamb, author of T.N.T. Tales (Oxford, 1919)—a collection of anecdotes describing the work of munitionettes at the Barnbow shell-filling factory near Leeds—by Wilfred Rowland Childe, editor of Oxford Poetry in 1916-1917 and a contributor to Arts and Letters. Page 21 of this copy shows a handwritten emendation to the epigraph, attributing it to “H. D.” rather than “H. R.”; this is the same as some other extant copies. The final section, “Killed in Action,” is a prose selection from an unfinished novel and ends with a fleuron, visually marking the conclusion of the work.</p>[Forward, March!, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703713/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703713/"><img alt="[Forward, March!, cover]" title="[Forward, March!, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703713/small/"/></a></p><p>Photograph of the cover of "Forward, March!" by Angela Morgan, held by UNT Special Collections. The dark red cover has the title at the top left corner, followed by a graphic of a hand holding a torch and the author. This all encased by a line, and all in gold lettering/lines.</p>[Sword Blades and Poppy Seed]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703719/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703719/"><img alt="[Sword Blades and Poppy Seed]" title="[Sword Blades and Poppy Seed]" src="https://digital.library.unt.edu/ark:/67531/metadc1703719/small/"/></a></p><p>Photographs of "Sword Blades and Poppy Seed" by Amy Lowell, held by UNT Special Collections. The first image is of the blue/grey spine with a label at the top of it containing the title. Image 2, the book opened up to the title page, with the left page containing publishing information.</p>[Soldier Songs from Anzac, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703723/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703723/"><img alt="[Soldier Songs from Anzac, cover]" title="[Soldier Songs from Anzac, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703723/small/"/></a></p><p>Photograph of the cover of "Soldier Songs from Anzac" by Tom Skeyhill, held by UNT Special Collections. The cover is worn lavender in color, with a double border in black ink. The title is at the top, and the publishing information at the bottom also in black ink.</p>[The Making of Micky Mcghee]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703727/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703727/"><img alt="[The Making of Micky Mcghee]" title="[The Making of Micky Mcghee]" src="https://digital.library.unt.edu/ark:/67531/metadc1703727/small/"/></a></p><p>Photographs of "The Making of Micky Mcghee" by R.W. Campbell, held by UNT Special Collections. The third image shows the book opened up to pages 64-5. On the left page are the words "Carry On" next to a drawing of a soldier kneeling with a long rifle, followed by a bit of text. On the right page are the words "Miners and Miners" next to a drawing of a man holding a shovel followed by a few paragraphs of text. Image 1, pale brown book cover with the title at the top in an illustration of a man standing in front of a sign, and buildings behind it, the author in the bottom right corner. Image 2, inscription written on the inside of the cover in pencil. Robert Walter Campbell, born 1876, served with the Royal Scots Fusiliers in the Boer War (1899 to 1902), and then again with the 5th battalion in Gallipoli (1914) in the Great War. This second tour gave him the material for his poems in support of the war effort. Campbell wrote 25 lively poems and songs in Standard English for The Making of Micky McGhee. Some 20th century Scottish slang is sprinkled throughout.</p>[Socks]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703731/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703731/"><img alt="[Socks]" title="[Socks]" src="https://digital.library.unt.edu/ark:/67531/metadc1703731/small/"/></a></p><p>Photographs of "Socks" by Emily Caroline Oliphant, held by UNT Special Collections. Image 2, shows the title page, the words "Moriendo Vivo" in the middle of it. Image 3, open book with table of contents on the left page and the page on the right the beginning of a chapter titled "Socks" with the date September 1914 under it. Image 4, page of text titled "Socks" on the left and page on right titled "The Mine-Sweepers." Image 1, green book cover with the title and author in the middle in red lettering. In the top right corner are blue, white and red stripes. While not every poem in Emily Caroline Oliphant’s Socks directly concerns the role of women on the home front of World War I, the most noteworthy of the book’s 27 poems, “Socks,” details the almost laughable frustration of the limited contributions a woman could make in contrast to her husband’s sacrifices: “Tis little a woman can do when fighting is to the fore; / True, she can send her menkind now as in days of yore; /... But every minute to spare she knits for her soldier—socks.” The book’s title page bears the information that it was published in Blairgowrie, a burgh in Scotland, and printed in 1915 at the Advertiser Office, a local newspaper office. The following page denotes that it was sold for the Prince of Wales’ National Relief fund, which was developed in order to aid the wives and families of those serving in the war. Bound in forest-green cloth with three diagonal stripes across the top right corner in cherry red, gold, and navy blue, the 34-page book is an unusual format (about 10” x 7.5”) and was sold for one shilling. Choosing to bind the book in a color reminiscent of the soldiers’ uniforms and stripes resembling the British flag reinforces its nationalistic purpose. Despite the obvious humor of the title poem, the book signals its serious intentions on the title page epigraph. Printed in italics is the phrase “Moriendo Vivo” which, translated from Latin to English means, “In dying I live.” This idiom captures not only what it must have felt like to be a woman in the midst of World War I, but the guilt of any person—civilian or soldier—who evaded death in such a catastrophic event.</p>[Plain Song 1914-1916]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703739/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703739/"><img alt="[Plain Song 1914-1916]" title="[Plain Song 1914-1916]" src="https://digital.library.unt.edu/ark:/67531/metadc1703739/small/"/></a></p><p>Photographs of "Plain Song" by Eden Phillpotts, held by UNT Special Collections. Image 2 shows the table of contents on the left page and a page with a poem titled "August the Fourth." Image 3, continuation of the poem "August the Fourth" and number 2 and 3. Image 1, cover of the book made of grey paper, framed by a thick line with the title at the top followed by the dates 1914-1916. Eden Phillpotts (1862-1960) was born in British India and is best known for his celebration of the landscape of Dartmoor in southern England. His collection of poems, Plain Song, moves from horror to acceptance, but always with a sense of detachment of the poet at home. The opening poem takes its title from the date Britain declared war on Germany, “August 4, 1914.” Thwarting the reader’s expectations, the poem begins with a peaceful woodland scene at dusk, where the speaker watches the moon rise over a clearing filled with emerald-like glow-worms and the purr of a swooping churn-owl, who “throbbed and throbbed, then took his flight...in rapture and delight” (p. 2). The poem ends by shattering this scene “by Nature sanctified” when the speaker suddenly recalls the “hell / This day hath seen ascend” (p. 3). The poem thus plays on the poet’s physical distance from the war to produce its emotional affect.</p>[Taps: Famous Poems of the World War]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703743/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703743/"><img alt="[Taps: Famous Poems of the World War]" title="[Taps: Famous Poems of the World War]" src="https://digital.library.unt.edu/ark:/67531/metadc1703743/small/"/></a></p><p>Photographs of "Taps" by Theodore Roosevelt Jr. and Grantland Rice, held by UNT Special Collections. The second image is of pages 110 an 111, the page on the left is a drawing of a figure laying on grass and the page on the right is a poem titled "No Man's Land." Image 3, pages 200 and 201 with the page on the left containing parts of a poem and the page on the right containing a drawing of two soldiers sitting down with skull faces. Image 1, cover of the book. It is dirty yellow in color with title in bold at the top with black lettering, the subtitle and names in smaller letters. Expanding vertically on the left side of the cover is a sketch of a soldier playing a trumpet. Image 4, side view of book's spine that contains the title and author, small white stars along it vertically.</p>[Rookie Rhymes]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703747/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703747/"><img alt="[Rookie Rhymes]" title="[Rookie Rhymes]" src="https://digital.library.unt.edu/ark:/67531/metadc1703747/small/"/></a></p><p>Photographs of "Rookie Rhymes," held by UNT Special Collections. The book is opened up to a page on the left titled "The Call" followed by a poem. On the right page is an illustration of a soldier and woman in a big dress dancing. Image 1, the brown paper book cover has no spine, and the title is at the top in big black letters followed by an illustration of a man in a hat smoking a pipe.</p>[Selected Poems on Woodrow Wilson]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703749/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703749/"><img alt="[Selected Poems on Woodrow Wilson]" title="[Selected Poems on Woodrow Wilson]" src="https://digital.library.unt.edu/ark:/67531/metadc1703749/small/"/></a></p><p>Photographs of "Selected Poems on Woodrow Wilson," held by UNT Special Collections. The first image, the pale blue cover of the book with the title and author printed at the top of the front in dark blue. The second image shows the title page of the book, including the editor, illustrator and publishing information. Image 3, "The Crusader (In Memory of Woodrow Wilson)" poem by Thomas Curtis Clark on page 57. On the page to the left of it is an illustration of a pointed doorway, flags seen inside of it.</p>[History and Rhymes of the Lost Battalion]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703751/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703751/"><img alt="[History and Rhymes of the Lost Battalion]" title="[History and Rhymes of the Lost Battalion]" src="https://digital.library.unt.edu/ark:/67531/metadc1703751/small/"/></a></p><p>Photographs of "History and Rhymes of the Lost Battalion" by Lee C. McCollum, held by UNT Special Collections. The second image is open to two poems, the one on the left tiled "Our Commander" and the one on the right "Up There." On each side and bottom of the page is an illustration of field workers, the bottom part being the ground. Each page also has a dedication. Image 3, poem titled "My Pals" expanding over two pages. On the outer part of each page is part of an illustration of things like soldiers lying on the ground and someone in a gas mask. Image 1, dark blue cover of the book with the title and author in gold lettering. In the top left corner is a red, white and blue stripe.</p>[Song of the Soldiers, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703753/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703753/"><img alt="[Song of the Soldiers, cover]" title="[Song of the Soldiers, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703753/small/"/></a></p><p>Photograph of the cover of "Song of the Soldiers" by Thomas Hardy, held by UNT Special Collections. The cover is brown, the front framed a black design. The song and author are at the top and underlined in black ink.</p>[Rupert Brooke: A Memoir, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703765/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703765/"><img alt="[Rupert Brooke: A Memoir, cover]" title="[Rupert Brooke: A Memoir, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703765/small/"/></a></p><p>Photograph of the cover of "Rupert Brooke: A Memoir" by Edward Marsh, held by UNT Special Collections. The simple black cover has the title in a white box at the top, the title inside it framed by an orange line. Rupert Brooke (1887-1915) was the son of a Rugby schoolmaster and attended school at Rugby and later at King’s College of Cambridge University. After completing his education, Brooke continued writing poetry and became one of the founders of the first anthology of Georgian Poetry. Now little studied, it was a dominant poetic movement of the time until it was supplanted by Imagism and the High Modernism of T. S. Eliot, Ezra Pound, and W. B. Yeats. While not as experimental as the Modernists, the Georgian poets did look to free poetry from the ornate language of Victorian verse and employ in its place plain and concrete language. Along with the Georgian poets, Brooke also interacted with members of the influential Bloomsbury Group, which included such prominent writers as Virginia Woolf and E. M. Forster. When war broke out, Brooke enlisted but never saw combat, instead dying of illness in March 1915 on his way to Gallipoli. Despite this, Brooke became a touchstone for other WWI poets, who dedicated volumes of verse to him, wrote essays celebrating his work, and published memoirs of his life. Rupert Brooke’s most anthologized poetry is often selected to represent a more inspirational and conventional perspective than the soldier poets that follow him. The patriotic sensibility in his most famous poem “The Soldier,” for example, is often contrasted with the disillusionment, horror, and lack of sentimentality of other WWI poets. This is not surprising, considering that Brooke did not see combat, but it has had unfortunate consequences for Brooke’s reputation and much of his best poetry has been neglected. It is important to see the overt nationalism of his self-characterization in “The Soldier” as “A body of England's, breathing English air, / Washed by the rivers, blest by suns of home” in the context of the rest of the volume, particularly the poems of 1913-1915, when Brooke traveled across North America, to Hawaii, New Zealand, and finally Tahiti. In the progression of 1914 and other poems, the certain knowledge and stable geography of “The Soldier” gives way to the dark scents and murmuring of the “soft Hawaiian sea” in “Waikiki,” and in “Hauntings,” Brooke presents a less certain vision of human destiny. In the sonnet’s octave, “a shade, through the toss'd ranks of mirth and crying / Hungers, and pains, and each dull passionate mood,— / Quite lost, and all but all forgot, undying,” comes back to haunt the speaker’s “quietude.” This haunting presence transforms the speaker himself into a “poor ghost,” one who,
“Is haunted by strange doubts, evasive dreams,
Hints of a pre-Lethean life, of men,
Stars, rocks, and flesh, things unintelligible,
And light on waving grass, he knows not when,
And feet that ran, but where, he cannot tell.”
In this context, Brooke’s celebrations of patriotic duty in war are tempered by a more reflective and less confident poetic sensibility.</p>[The Other Side: Poems, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703767/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703767/"><img alt="[The Other Side: Poems, cover]" title="[The Other Side: Poems, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703767/small/"/></a></p><p>Photograph of the cover of "The Other Side: And Other Poems" by Gilbert Frankau, held by UNT Special Collections. The worn orange cover contains the title in a white box on the top left.</p>[1914 & Other Poems]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703769/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703769/"><img alt="[1914 & Other Poems]" title="[1914 & Other Poems]" src="https://digital.library.unt.edu/ark:/67531/metadc1703769/small/"/></a></p><p>Photographs of "1914 & Other Poems" by Rupert Brooke, held by UNT Special Collections. The first image, is of the inside of the book with a faint illustration of a man's profile, the second image the see-through brown piece of paper is turned over to cover the illustration but to reveal the title of the book. Although Rupert Brooke (1887-1915) died before ever seeing battle, he was renowned for his war sonnets. W.B. Yeats noted that Brooke was “handsomest young man of England,” a fact that may account for some of his fame. Educated at Cambridge, he became a thespian, scholar, and soldier. Brooke, commissioned in the Royal Navy, never got to see battle. He died in 1915 at sea from sepsis. An eerie photograph portrait of the author’s profile, dated 1913, appears opposite the title page in this edition. Following the title page with publisher information and the typical copyright statement, we encounter a brief biographical note listing Brooke’s education and war time experience. His five war sonnets, titled “1914,” became notable for their romantic and patriotic view of the war. As a young man, Brooke wrote poems and published in anthologies and periodicals; his first volume of poetry, simply titled Poems, appeared in 1911 and (according to a note printed in this edition of 1914 and Other Poems) was reprinted in 1913 and twice in 1915. The contents of this volume are separated into sections beginning with the war sonnets titled “1914” followed by “The South Seas” and finally “Other Poems.” The last page of the book lists where the book was printed and contains a small slip that is taped to the back page, which was to be affixed to the spine of the book. An original slip is glued on the spine with the title of the collection and the author’s name and the publisher with a red border. Although this book is technically a first edition, the presence of two slips suggests it may be a stereotype printing of a later impression of the first edition. The collection’s pages are roughly cut and housed inside a hard blue cover.</p>[Somewhere in France: And Other Poems, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703771/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703771/"><img alt="[Somewhere in France: And Other Poems, cover]" title="[Somewhere in France: And Other Poems, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703771/small/"/></a></p><p>Photograph of the cover of "Somewhere in France: And Other Poems" by Ella F. Cowan, held by UNT Special Collections. The grey textured cover has the title and author stamped on the front at the top.</p>[Men, Women and Ghosts]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703775/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703775/"><img alt="[Men, Women and Ghosts]" title="[Men, Women and Ghosts]" src="https://digital.library.unt.edu/ark:/67531/metadc1703775/small/"/></a></p><p>Photographs of "Men, Women and Ghosts" by Amy Lowell, held by UNT Special Collections. The book is blue with a green spine, the title on a white label at the top framed by lines. Image 2, title page with the page on the left containing publishing information. Amy Lowell's Men, Women, and Ghosts, per her own preface, is meant to be an authentic window into the experience of WWI. It is a collection of 30 poems that had been published five times before this 1919 impression. The reprinting was made possible by electrotype. It was published in New York, but an earlier printing where the electrotype was produced occurred in Norwood, Massachusetts. In the preface Lowell discusses which poems she chose to include in the collection. She excludes “purely lyrical poems” (ix) because she is more concerned with experimenting with vers libre, or free verse that does not subscribe to standardized rhyming and metrical schemes. Lowell classifies many of her poems as “polyphonic prose” and was a forerunner of experimentation with the prose poem in English. Many of her poems in the collection have elements of prose, including “Pickthorn Manor” a story about a woman whose sweetheart is on the front lines. Lowell also constructs poems as one would a musical number, as in “Stravinsky’s Three Pieces ‘Grotesques’, For String”. There are many poems about impression and perception, including “Spring Day” and “Towns in Colour.” The collection is divided into five sections: “Figurines In Old Saxe”, “Bronze Tablets” (which Lowell sees as being most directly about war), “War Pictures”, “The Overgrown Pasture”, and “Clocks Tick a Century”. The multiple printings of this collection, and the production of electrotype plates to make reprinting easy, hint that this was a widely-read collection of poetry. UNT’s copy itself also shows signs that it was given as a gift: there is a Christmas card to “Dear Florence” tucked away in the volume. Lowell’s experimentation with free verse and her aim for a depiction of what life was like for women and men during WWI was most likely a success in her contemporary moment.</p>[In Flanders Fields]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703779/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703779/"><img alt="[In Flanders Fields]" title="[In Flanders Fields]" src="https://digital.library.unt.edu/ark:/67531/metadc1703779/small/"/></a></p><p>Photographs of "In Flanders Fields" by John McCrae, held by UNT Special Collections. The cover is dark blue with the title on the front in gold lettering inside gold oval. Image 2, frontispiece containing a photo of a soldier in uniform titled "John McCrae." Image 3, facsimile inscription. with the page on the right written in black ink handwriting. Image 3, book opened up to "In Flanders Fields" on the right page.</p>[Patriotic Toasts, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703789/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703789/"><img alt="[Patriotic Toasts, cover]" title="[Patriotic Toasts, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703789/small/"/></a></p><p>Photograph of the cover of "Patriotic Toasts" by Fred Emerson Brooks, held by UNT Special Collections. The cover is striped with red at the top, white in the middle and blue at the bottom. The title is over it in big black letters with the author in the bottom right corner in red lettering. This edition of Patriotic Toasts was published in 1917 by Forbes and Company in Chicago. Each page has a lithographic decorative blue border surrounding the printed text, and the dense cardboard cover contains a stoic depiction of Uncle Sam carrying an American flag, reinforcing the book’s self-proclaimed patriotism. The author, Fred Emerson Brooks, a popular 19th century poet, wrote several books of “toasts” – short poems likely meant to be read aloud in social gatherings. A notice in the back of this volume advertises Brooks’s other publications, including the comically titled Cream Toasts and Buttered Toasts, with a series of quotes from major newspapers attesting to Brooks’s sparkling wit. The collection of poems in this book captures the vigor of the American spirit at the time of its entry into World War I. Poems such as “Old Glory” and “Liberty’s Banner” are dense with the nationalist rhetoric that would eventually lose much of its appeal in the years to come. Other poems, like “To Our Own Good Germans,” exemplify the propagandizing attempts to vilify the people of Germany. When reading these poems, one can easily envision the host of a dinner party at the turn of the 20th century lifting his glass at the end of a spirited speech.</p>[The Poems of Alice Meynell: Complete Edition, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703793/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703793/"><img alt="[The Poems of Alice Meynell: Complete Edition, cover]" title="[The Poems of Alice Meynell: Complete Edition, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703793/small/"/></a></p><p>Photograph of the cover of "The Poems of Alice Meynell" by Alice Meynell, held by UNT Special Collections. The faded blue cover contains the title and author in gold lettering at the top, the words "Complete Edition" in gold at the bottom. There are two small stars on the cover.</p>[Peace and Patriotism, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703795/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703795/"><img alt="[Peace and Patriotism, cover]" title="[Peace and Patriotism, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703795/small/"/></a></p><p>Photograph of the cover of "Peace and Patriotism" by Elva S. Smith, held by UNT Special Collections. The pale blue cover has a black stamped graphic over most of the front of a woman wearing a long white dress. The woman holds the dark train with stars up and holds a dove in her arms. The title is at the bottom in big letters.</p>[Any Soldier to His Son, cover]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703801/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703801/"><img alt="[Any Soldier to His Son, cover]" title="[Any Soldier to His Son, cover]" src="https://digital.library.unt.edu/ark:/67531/metadc1703801/small/"/></a></p><p>Photograph of the cover of "Any Soldier to His Son" by George Willis, held by UNT Special Collections. The cover is grey, with the spine being darker. The title is in a silver frame on the top right, the lettering also in silver. In 1919, a collection of poems titled Any Soldier to His Son, authored by George Willis, was published by George Allen & Unwin LTD out of London. Although there is not much readily available biographical information on Willis, it is known that he was a soldier in the British army during World War I. The book itself is small, with an olive green cover designed by C.R.W. Nevinson but otherwise lacking illustrations other than the ornate publisher’s insignia on the title page. There is also no dedication or foreword, leaving the reader with little direction on how to read the book. However, the book concludes with a one-page advertisement for three other books of war poetry also published by George Allen & Unwin, including A Gallipoli Diary by Major Graham Gillam, another first-hand account of battle. Any Soldier to His Son contains eighteen poems, ranging in length but written primarily in rhyming couplets. Notable titles include “Any Soldier to His Son,” “To My Mate,” and “By Green Envelope,” addressed to the poet’s beloved wife. The subject matter of Willis’ poetry revolves around the experiences of a soldier, both during and after the war. Willis investigates the change in a soldier brought on by combat, and the book ends with “A Testament,” in which the soldier is asking for peace in death. In the progression of the poems, Willis is arguably imagining himself as a mouthpiece for all soldiers. Through his poetry, he seeks to help civilians better understand what it meant to be on the front lines or in the trenches, and why soldiers came out of it “shell shocked” (18).</p>[The Heart of Peace: And Other Poems]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703803/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703803/"><img alt="[The Heart of Peace: And Other Poems]" title="[The Heart of Peace: And Other Poems]" src="https://digital.library.unt.edu/ark:/67531/metadc1703803/small/"/></a></p><p>Photographs of "The Heart of Peace: And Other Poems" by Laurence Housman, held by UNT Special Collections. The light blue cover has the title printed at the top in dark blue, under it are six small hearts. Image 2, two pages with a poem titled "The Quick and The Dead" on page 16 and 17.</p>[U.S. officer's campaign hat, World War I]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703805/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703805/"><img alt="[U.S. officer's campaign hat, World War I]" title="[U.S. officer's campaign hat, World War I]" src="https://digital.library.unt.edu/ark:/67531/metadc1703805/small/"/></a></p><p>Photograph of a U.S. officer's campaign hat from World War I, held by UNT Special Collections. The brown felt hat with four dents, a black string tied around it.</p>[Selected Poems, Lady Margaret Sackville]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703807/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703807/"><img alt="[Selected Poems, Lady Margaret Sackville]" title="[Selected Poems, Lady Margaret Sackville]" src="https://digital.library.unt.edu/ark:/67531/metadc1703807/small/"/></a></p><p>Photographs of Selected Poems by Lady Margaret Sackville, held by UNT Special Collections. The cover is dark brown with the spine tan in color, with the title on the spine in a worn label. Image 2, "The Peacemakers" and "The Fighters" poems on pages 136 and 137. Lady Margaret Sackville was a British poet born on 24 December 1881 in Mayfair, London. Her talents appeared early on her life: at six she wrote in verse and at sixteen she performed on the stage. The book’s history of ownership is revealed through a bookplate and a signature on the front end sheet. The bookplate bears the name of the first owner, William Marchbank, while the signature reveals the second owner Donald Thomas. The book is bound with light brown cloth on the spine over dark brown boards, and is printed on handmade woven paper, something that is quite unusual in 1919. Physically, the book is in excellent condition, and it does not appear that its first owner actually read the book: the leaves remain uncut, meaning that the pages are joined together at the top as they were when the large sheet of paper was folded to make the individual gatherings of the book. Sackville divided her book into three sections, forging the first two about home and peace, while the third communicates how civilians at home depict the warfare. The poems in the first section portray nature in highly metaphorical language which lends a dreamlike quality to the poems. By contrast, the poems in the second section are written in dramatic style using stage directions and character tags. In the third section, Sackville begins with short poems that use themes of courage, bravery and patriotism, but the section concludes with poems on the theme of death and massacres which dominate the war. Sackville’s volume thus implicitly advocates for peace even as it accedes to the patriotic view of war.</p>[The One-Legged Man p.43, The Old Huntsman]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703809/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703809/"><img alt="[The One-Legged Man p.43, The Old Huntsman]" title="[The One-Legged Man p.43, The Old Huntsman]" src="https://digital.library.unt.edu/ark:/67531/metadc1703809/small/"/></a></p><p>Photograph of page 43 from "The One-Legged Man" by Siegfried Sassoon, held by UNT Special Collections. The page on the right is titled "The One-Legged Man." The poet Siegfried Sassoon, recipient of the Military Cross for acts of heroism, became famous not only for his angry and candid war poems, but also for his open letter of protest to the War Department after being wounded in action. “I believe that this War is being deliberately prolonged by those who have the power to end it,” he wrote, and after the letter was read aloud in the House of Commons, Sassoon expected to be court-martialed. Once the poet Robert Graves intervened, claiming that Sassoon was suffering from shell-shock. Sassoon was then sent to a facility for mentally infirm soldiers, where he later mentored Wilfred Owen. The poem “The One-Legged Man” represents one of Sassoon’s more bitterly ironic poems in which a man blesses the fortunes of one horror—his own amputation—since it spares him the greater horror of further military service. Doubtless the story resonates with Sassoon’s own, where his patriotism as a citizen of England became subordinate to more peaceful allegiances as a “citizen of life.” The irony of the poem suggests one man’s limitation is another’s mobility, his reinstated power to “choose.”</p>[The Bells of Peace]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703811/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703811/"><img alt="[The Bells of Peace]" title="[The Bells of Peace]" src="https://digital.library.unt.edu/ark:/67531/metadc1703811/small/"/></a></p><p>Photographs of "The Bells of Peace" by John Galsworthy, held by UNT Special Collections. The brown paper cover is framed by a red line, the title in simple black print. Image 2, page titled "The Bells of Peace" with two paragraphs, the first letter of each a red L. Image 3, pages 3 and 3. They are both titled "The Bells of Peace" at the top. Each page has 2 paragraphs, the first letter of each big and red. The bottom of page 3 has the date June 1920.</p>[Main Street and Other Poems]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703813/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703813/"><img alt="[Main Street and Other Poems]" title="[Main Street and Other Poems]" src="https://digital.library.unt.edu/ark:/67531/metadc1703813/small/"/></a></p><p>Photographs of the book "Main Street and Other Poems" by Joyce Kilmer, held by UNT Special Collections. The title page is opened up, with the title and author in a rectangular frame. Under it is a graphic of a house and tree, and below it the publishing company. Image 2, the cover of Main Street. The pale brown book has a white label on the front with the title in it.</p>[Our Hospital ABC]2020-06-17T13:52:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1703815/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703815/"><img alt="[Our Hospital ABC]" title="[Our Hospital ABC]" src="https://digital.library.unt.edu/ark:/67531/metadc1703815/small/"/></a></p><p>Photographs of "Our Hospital Anzac British Canadian" also known as "Our Hospital ABC" by Hampden Gordon and M.G. Tindall, held by UNT Special Collections. The first image the brown cover of the book with a blue spine. The title is at the top in red letters framed by white, an illustration of a nurse in a white dress outfit with two white tents by her. At the bottom are the acknowledgments for the creators. The second image is of two grey pages, the page on the right the title page with an illustration of a woman in white and black holding a frying pan. Image 3, pages 5 and 6 with the page on the left titled with a big red C and a description of what it stands for, the page on the right containing an illustration of an injured soldier with two children standing around him. Image 4, the spine of the book with the title spread throughout it. Image 5, back cover of the book with an illustration of a nurse in the white and black nurse dress, holding a bottle in her hand. Our Hospital ABC with pictures by Joyce Dennys and verses by Hampden Gordon & M. G. Tindall is a children’s picture book about an army hospital run by ANZAC (Australian and New Zealand Army Corps), Britain & Canada. Each page, end leaf, end page, and the outside book covers were printed as full-page lithographs using large blocks of color. The white block text is printed in the same style as the pictures in red, blue, brown and occasionally green throughout the book; the end pages are plain gray with white silhouettes of people. The text of the verses are simple and in all capitals, but the content suggests this is not a children’s book: “N are the Nurses / The Right Sort of Wenches / To Look After Lads Who / Are Back from the Trenches.” Hampden Gordon and M. G. Tindall provided these delightful, sometimes bawdy verses, but it is the illustrations that steal the show. Isobel Dorothy Joyce Dennys (1893 – 1991) was an artist, illustrator, painter and nurse. Texture within the drawings used very small dots of color. John Lane, the publisher, contacted Dennys and asked if she would illustrate this book. Hampden Gordon and Joyce Dennys ended up collaborating on two humorous books of war time poetry, Our Hospital ABC and Rhymes of the Red Triangle. A ‘faux bookplate’ on the front end page reads “Not To Be Taken / Seriously,” reinforcing the humorous intent of the book. The book was published in 1916 by John Lane of The Bodley Head, which took its name from the bust of Sir Thomas Bodley that sat above the shop door. The name of the printer that provided the lithography can be found in very tiny print on the back cover: William Griggs & Sons, Ltd. Lith., Peckham, London William Griggs and Sons in 1916 in Peckham performed the lithography. William Griggs (1832 – 1911) was the inventor of a photo-chromo-lithographic process and was a pioneer in the use of color printing.</p>