Photograph of photographs of Jim Barber, Donald "Don" Baker, and Bill Nelson placed on top of a legal document related to Baker v. Wade trial, which challenged the legality of Texas's anti-sodomy law as detailed in the Penal Code, section 21.06.

Photograph of a white frisbee advertising the Resource Center of Dallas. Text reads: "AIDS Resource Center - John Thomas Gay & Lesbian Community Center - Nelson-Tebedo Health Resource Center - www.rcdallas.org; Resource center of Dallas / The Center is People!" The Resource Center of Dallas's logo (a house with a candle and flame making up the door and window) is featured in the center. The frisbee was made by Prime Premiere, Inc., "Printing and Promotional Products with PRIDE! / 100% Gay Owned."

Photograph of a newspaper clipping about Donald Baker and the Baker v. Wade trial, which challenged the legality of Texas's anti-sodomy law as detailed in the Penal Code, section 21.06.

Photographs of "Poems of the War and After" by Vera Brittain, held by UNT Special Collections, including the front cover, spine, and two selected 2-page spreads. The paper cover is white with a thick black line as a frame, with the title is at the top and the author in the middle, the words "Author of Testament of Youth" at the bottom and each section separated by a small black line. Image 2, the spine of the book laying flat containing the title and a small triangle/circle symbol. Image 3 (pp. 28 and 29) includes the title, "In Memoriam G.R.Y.T" at the top of the left page followed by the poem. Image 4 (pp. 32 and 33) contains the text of "Sic Transit-" and "To Them" poems.

Photographs of "Forgotten Places" by Ian Mackenzie, held by UNT Special Collections. The cover of the book is grey, with the spine exposing some green paper. The front of the cover is framed by a black line, with the author and title at the top in black and the publishing information at the bottom. Image 2, "Peace" and "Desire," poems one pages 60 and 61. Image 3, frontispiece and title page. The frontispiece has a photo of a young man, with the name "Ian Mackenzie" signed under it.

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.

Photographs of "Lyrics of War and Peace" by Paul Williamson, held by UNT Special Collections. The cover is a worn bright blue, with the title and author at the top in gold lettering. Image 2, title page. On the page is the signature of Paul Williamson, followed by stamp design with the words "Lege Quod Legas."

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.

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 …

Photographs of "Songs of Peace" by Francis Ledwidge, held by UNT Special Collections. The dark beige cover is framed by a double dark blue line. The title and author is imprinted in dark blue lettering at the top and on the spine. Image 2, "The Ships of Arcady" and "After" poem on pages 104 and 105. Francis Ledwidge (1887-1917) was born in Slane, a small town 30 miles north of Dublin, and died in the Third Battle of Ypres in Belgium in 1917. Ledwidge supported the movement for Irish home rule before enlisting in Lord Dunsany's army regiment in 1914. The poems collected here, published in the last year of Ledwidge’s life and introduced by Dunsany, are organized in categories that reflect Ledwidge’s experience of the war—“In Barracks,” “In Camp,” “At Sea,” “In Serbia,” “In Greece,” “In Hospital in Egypt,” and “In Barracks” a second time. The poems themselves, however, have very little to say about the war, instead focusing on Irish locales like “heights of Crockaharna” (a rock formation near Slane) or Crewbawn (an Irish town on the River Boyne), but more often on old desires, lost loves, distant bird songs, and the drone of a night beetle’s wings. …

Photographs of "The Sword: Poems" by Gretchen Osgood Warren, held by UNT Special Collections. The cover is pale blue with a tan spine. The title is in the top left corner in a white label. Image 2, title page with two quotes underneath the title. Image 3, "Dying Peace" poem expanding over pages 132 and 13.

Photographs of "The Village Wife's Lament" by Maurice Hewlett, held by UNT Special Collections. The first image shows the dark grey cover of the book from the spine, the title on a label at the top. Image 2, pages 50 and 51. The top of page 50 is titled "ii", followed by a poem. The middle of page 51 is titled "iii" followed by another poem. English poet and novelist Maurice Hewlett (1861-1923) is rarely studied today, though his work around World War I often promoted socialism and universal suffrage. Perhaps the latter informs this collection, a series of poems told from the point of view of a woman, the eponymous village wife. As Hewlett notes in his introduction, World War I is “the greatest disaster of recorded time” and the village wife’s “reproaches strike at the heart of Mankind” (p. b1). By placing those reproaches in a women’s perspective, Hewlett attempts to chart the human toll of war, to show that soldiers are far from the only people affected. Thus, given the narrator and the subject matter, The Village Wife’s Lament, despite being written by a man, is included in the Women On War section of this exhibit. The …

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 …

Photograph of the cover of "Backgrounds" by Grace Mary Golden, held by UNT Special Collections. The pale grey paper book contains the title and author at the top, the publishing info at the bottom. Most of the page is covered by an illustration of a woman watching a soldier rowing at sea with a dog next to her. All the wording and illustrations are in black.

Photographs of "Cease Firing: Fifty Poems of the New Peace," held by UNT Special Collections. The first image is the cover of "Cease Firing," blue/green color with the title imprinted in gold at the top in between three lines of gold. The second image is of the title page and frontispiece. The frontispiece is a black and white illustration with the words piece at the top made up of small birds. Image 3, poem titled "Peace Shall Live" expanding over two pages. At the very top of the left page it is titled "Cease Firing" and the top of the right page titled "Seek Peace and Pursue It."

Photographs of "Chicago Poems" by Carl Sandburg, held by UNT Special Collections. The cover is dark green with the title and author in gold lettering at the top and the front framed by a gold line. Image 2, open book with the page on the right titled "Killers" and the left page blank. Image 3, pages 86 and 87. Page 87 contains a poem titled "Among the Red Guns."

Photograph of the cover of "The Collected Poems of Rupert Brooke" by Rupert Brooke, held by UNT Special Collections. The simple black book has the title in a white box at the top, 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 …

Photograph of the cover of "Days of Destiny: War Poems at Home and Abroad" by R. Gorell Barnes, held by UNT Special Collections. The cover is worn grey in cover with the title in a white box at the top, with the D's red and the box framed by a red line.

Photograph of the frontispiece/title page of "Easter at Ypres 1915" by W.S.S. Lyon, held by UNT Special Collections. The title page has the title at the top and publishing information at the bottom. The page on the left contains a black and white photo of the side profile of a young man in uniform.

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.

Photographs of "Friends" by Wilfrid Wilson Gibson, held by UNT Special Collections. The cover is brownish paper, the title at the top, author in the middle and publishing info at the bottom all in black ink lettering. Image 2, the page on the left contains a list of books by the same author: Battle, Thoroughfarers, Borderlands, Fires, Daily Bread, Akra the Slave, and Stonefolds. The page on the right is "To the Memore of Rupert Brooke." Image 3, open book with page on the left blank, and the page on the right containing a small poem dated 23rd April, 2015. 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 …

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.

Photographs of "From the Front" trench poetry edited by C.E. Andrews, held by UNT Special Collections. It is bound in an uniform green cloth binding, and the front cover bears the title “From the Front,” the full name of the editor in all caps, and a logo of two swords crossed, a hat in the middle, and olive leaves wreath circling the swords, all of which was stamped with gold metallic color.. Image 2, page 198 and 199. The page on the right is titled "Good-By." Image 3, page 200 and 201. Image 4, page 202 and 203. The page on the right is titled "Matey." During World War I, a genre of poetry emerged from the front lines termed “Trench Poetry.” It was inspired by the soldiers’ daily life on the front, especially the constant witnessing and interacting with horrifying scenes. The editor of this book, Lieutenant C. E. Andrews, served in the Aviation Section, Signal Reserve Corps during World War I. Surprisingly, during the course of his examination of “thousands of the poems from the front [that] have appeared in newspapers and magazines,” Andrews learned that most trench poetry was not written by soldiers, but by “men of …

Photograph of "How It Happened: And Other Poems" by Edwin H. Underhill, held by UNT Special Collections. The brown cover has the title and author printed in gold lettering in the middle of the front. A light blue arrow with a T in the middle of it is above that. At the bottom are two lines crossed over each other, most of the cover faded.