Video of interviews and footage of practice and preparation for the musical, "Tina - Against All Odds," produced by The Black Academy of Arts and Letters as part of the 2016 Summer Youth Arts Institute.

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.

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 …

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.

Photographs of "Poems" by G.K. Chesterton, held by UNT Special Collections. The cover is red with the front framed by a decorative gold design and the title and author at the top, followed by another design, all stamped in gold. Image 2, frontispiece containing a black and white photo of a man with a mustached holding a book and pen, titled G.K. Chesterton under it. Image 3, poem titled "The Wife of Flanders" on the right page numbered 27.

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 cover of "En Repos and Elsewhere Over There" by Lansing Warren and Robert A. Donaldson, held by UNT Special Collections. The cover is light brown with a darker spine, the title and authors printed at the top in black ink.

Photograph of the cover of "Rhymes of a Red Cross Man" by Robert W. Service, held by UNT Special Collections. The cover is olive green the title and author within a decorative frame, all in gold lettering and lines.

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 …

Photograph of the cover of "Rupert Brooke's Death and Burial" by Jeanne Perdriel-Vaissière, held by UNT Special Collections. The light blue cover is worn and wrinkled, the title in orange curled letters in a white rectangle at the top left. 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 …

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.

Photograph of the title page of "The Shepherd" by Edmund Blunden, held by UNT Special Collections. To the left of the title page is a short list of poems written by Blunden.

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.