Photograph of Chett, a World War I soldier. He wears a high-collared coat, and has a buzz cut. He looks to the left of the photographer.

Photograph of the decorative, three-sided iron fencing around a flagpole at a school in Waco. The fence includes a large emblem for the "Key Club" that dedicated flagpole shaped as a "K" in a circle, crossed with a vertical skeleton key. The other sides of the fence have decorative curlicues and the base of the flagpole and a trashcan are visible behind the fence. This is the original flagpole of Rich Field Army Base in World War I.

Photograph of the base of a flagpole at Waco High School, which is a white pole set in a pyramidal concrete block on a concrete slab surrounded by grass. A decorative metal fence is visible around the left, right, and back sides of the pole, and is leaning inward. A structure is partially visible in the background of the right side of the image. This is the original flagpole of Rich Field Army Base in World War I.

Photograph of a white flagpole, surrounded by low, decorative fencing at Waco High School, looking south. The flagpole is surrounded by a lawn and, in the background, part of a school building is visible at left, as well as a tree with a bench under it, and a mechanical structure at right. This is the original flagpole of Rich Field Army Base in World War I.

Photograph of a flagpole at Waco High School, looking north toward school buildings, visible in the background. The flagpole is painted white and has a low, decorative metal fence around it on three sides, with a trash can at the open end, at right. This is the original flagpole of Rich Field Army Base in World War I.

Photograph of Earl Ray Davis (1894–1972) in France, 1919. He is dressed in uniform, contains a bag wrapped around his shoulder, and sports a helmet. Standing in front of large bushes, he looks sternly into the camera.

Photograph of the junkyard at Camp MacArthur. Many trash items are scattered haphazardly in piles and stacks; most prominent at center is a heap of used oil lamps, next to bunches of wooden crates and containers. At left are long rows of pipes and piles of ceramic-like cylinders. Behind these remain further piles of pillows and pipes. A paper attached to the bottom of the photograph describes the junkyard's operation.

Photograph of an unidentified soldier from Camp MacArthur, Waco. He is in a military jacket with a long collar, and has short, combed hair.

Photograph of two WWI soldiers with one arm around the other. Both are wearing dark color pants, shirts and hats. On the back of the photo of the soldiers is a image of a woman at the beach in a knee length swimsuit and heels.

Photograph of Otto Hodel, a WWI soldier born 1896 in Coryell Co., Texas. He died 1967 in Hale Co., Texas. Mr. Hodel is posing in soldier's uniform in front of a dark colored background. The photograph was taken by Nagel, San Antonio.

Photograph of an unknown WWI soldier. He is clean shaven with short hair and dressed in uniform.

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.

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.

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 …

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.

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.

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.

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.

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 …

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.

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 …

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 "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.

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.