Photograph of UNT's Union Gallery displaying photographs from Mayborn's "A Century of Excellence." The banner on the floor reads, "Your story starts here," as the gallery displays prints from Mayborn's Journalism history.

Photograph of UNT's Union Gallery displaying photographs from Mayborn's "A Century of Excellence." Along the walls are prints of newspaper articles from the journalism's history. Along with displays of artifacts from previous UNT alumni.

Photograph of an unidentified woman standing at a podium and speaking into the microphone. The woman is addressing the large crowd of people seated in the University Union's auditorium building. They are await to listen to a talk from former UNT alumni as well as Pulitzer Prize winners and finalists. The talk was held during the Century of Excellence: The Pulitzer Prize's and Journalism's Impact on UNT exhibit and event.

Photograph of UNT's Union Gallery displaying photographs from Mayborn's "A Century of Excellence" exhibit. A young woman walks through the gallery looking at the work. The prints on the wall display students and faculty from UNT's past as they are working in the journalism and publishing departments.

Photograph of UNT's Union Gallery displaying photographs from Mayborn's "A Century of Excellence." The label on the wall reads, "Your story starts here," as it pin-points UNT's journalism and publication history. In the background are visible prints of journalism students throughout the ages of UNT.

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.

Photographs of "Images of Desire" by Richard Aldington, held by UNT Special Collections. The first image is of the title page. Image 2, two poems on pages 28 and 29. The left page is titled "A Soldiers Song" and the page on the right titled "Absence."

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.

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 …

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.

Photograph of the cover of "On Heaven" by Ford Madox Hunter, held by UNT Special Collections. The bright blue cover contains the title and author on the front imprinted in gold lettering.

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.

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.