Photograph of students wearing balloon hats outside of the Union during Union Fest. The hats are multi-colored and have several balloons sticking out in all directions. One of the students is also holding a bag of chips.

Photograph of one of the Bruce Hall courtyards while it is empty. There are benches around a fire-pit and others around picnic tables at the edges of the lawn and two sets of stairs leading up to the dorm entrance at the far end.

Photograph of students gathered in Bruce Hall's common room. One is playing Guitar Hero while others watch. Other students are sitting nearby and the "Wall of the Dead" from the dorm-wide Assassin game is visible past them.

Photograph of the Union Courtyard decorated for Union Fest. It is the 60th anniversary and the theme is the 1960s. There are balloons, streamers, paper designs, posters, signs, a banner, and a cake throughout the space. Workers are sitting behind tables waiting to serve the cake.

Photograph of students gathered in Bruce Hall's common room. Many are sitting around a small table in armchairs and on the ground and others are sitting on couches and in armchairs around the room. There is a vending machine in the back and columns between the room and the hallway.

Photograph of a student leaving Bruce Hall from its main entrance. There are bikes lined up outside at a racking station and a seal above the door with "N.T.S.T.C." carved on it.

Photograph of a student, and member of the UNT SGA, using a Drunk Driving Simulator in the Silver Eagle Suite during an event. They are also texting with one hand. The SMART Recovery Addiction Support Group was hosting the event to spread awareness about irresponsible drinking.

Photograph of a student, and member of Sigma Chi, using a Drunk Driving Simulator in the Silver Eagle Suite during an event. The SMART Recovery Addiction Support Group was hosting the event to spread awareness about irresponsible drinking.

Photograph of the Union Courtyard decorated for Union Fest. It is the 60th anniversary and the theme is the 1960s. There are balloons, streamers, paper designs, and a balloon arch over a stairway.

Photograph of the Union Courtyard decorated for Union Fest. It is the 60th anniversary and the theme is the 1960s. There are balloons, streamers, paper designs, posters, signs, a banner, and a cake throughout the space. Workers are sitting behind tables waiting to serve the cake.

Photograph of a member of the Kappa Kappa Gamma member using a Drunk Driving Simulator in the Silver Eagle Suite during an event. The SMART Recovery Addiction Support Group was hosting the event to spread awareness about irresponsible drinking.

Photograph of a mirror hanging on the wall in Bruce Hall's common room. Reflected in the mirror are students sitting on a couch and a air hockey table. On the wall are papers with pictures and short descriptions of people who have lost the dorm-wide Assassin game.

Photograph of a student, and member of the UNT SGA, using a Drunk Driving Simulator in the Silver Eagle Suite during an event. They are also holding a cellphone up to their ear. The SMART Recovery Addiction Support Group was hosting the event to spread awareness about irresponsible drinking.

Photograph of a student entering Bruce Hall by its main entrance. They are holding their phone to their ear and there is a seal above the door with "N.T.S.T.C." carved on it.

Photograph of the Union Courtyard decorated for Union Fest. It is the 60th anniversary and the theme is the 1960s. There are balloons, streamers, paper designs, and a balloon arch over a stairway.

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.

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 "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.

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.

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 …

Photographs of 36th National Guard Private's wool jacket from World War I, held by UNT Special Collections. This jacket was worn by George N. Rucker who was stationed at Camp Travis in San Antonio, Texas, during World War I. The first image shows an arrowhead patch with the "T" in the center represents the 36th infantry division of the Texas Army National Guard, which was made up of Texans and Oklahomans. The silver chevron patch lower on the sleeve represents stateside service of at least six months. A second silver chevron patch would have been added for an additional six months served, so we can tell that Rucker only served between six and eleven months. The red chevron near the shoulder represents honorable discharge. Image 2, front of wool jacket with two pockets on the top and bottom of each side and five buttons along the middle.

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 …

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.

Photographs of "Poems" by Wilfred Owen, held by UNT Special Collections. The first image is of the title page, the page to its left covered by a thin brown slip. Image 2, frontispiece showing an image of a young mustached man in uniform. Image 3, "Dulce Et Decorum Est." The text on the left page has three sections numbered IV-VI. The page on the right is titled Dulce and numbered page 15. Wilfred Owen’s poem “Dulce et Decorum Est” stands as the most widely anthologized example of a poem by a WWI soldier who positions his passion and vision in direct opposition to the euphemistic rhetoric about war so prevalent in patriotic verse and political discourse. That said, part of its persuasive strategy is that of rooting its vision in the immediacy of the personal, such that whatever didactic energy of the closure grows out of a dramatic context and the sense of personal authority gathered in the process. Much of the success of this structure relies upon a series of “turns,” or “voltas,” that delineate the poem’s development. The immediate physicality and collective sweep of perspective will be critical to the gathering force of argument. The first turn (“Gas! …