Photographs of "Poems and Drawings" by Henry L. Field, held by UNT Special Collections. The worn cover is dark blue with the title in a white label no the top left corner of the page with the year 1916. Image 2, title page of "Poems and Drawings." Image 3, frontispiece with an image of a mustached man in uniform, the picture labeled "Henry Field, 1894-1916." The author of this collection, Henry Field, served in World War I and died in service on July 1, 1916. The book includes poems written between 1912 and 1916. The preface at the beginning of the book is written by R.F. This could be Field’s mother, Ruth Field, but is more than likely his brother, Richard Field. In addition to supplying the preface, R.F. acts as an editor, making choices about which poems to include and which to omit. There are 26 poems in total, with subject matter ranging from WWI soldiers and death, to Christmas during the war, to unrequited love. There are also poems addressed to specific people, including J.C.F. (most likely Henry’s sister, Jessie). The book includes illustrations by Henry Field as well, which are reproduced lithographically. At the end of the …

Photographs of "Poems" by Isaac Rosenberg, held by UNT Special Collections. The cover is light blue with the title printed on the top right corner. Image 2, frontispiece and title page. The frontispiece has a black and white photo of a man in a colored jacket. Image 3, "The Dying Soldier" poem on the left page and "Dead Man's Dump" on the right, the pages numbered 88 and 89.

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! …

Photographs of "Songs of Men" by Robert Frothingham, held by UNT Special Collections. The book is opened up to the title page, the title at the top and publishing information at the bottom with an orange graphic in the middle. Image 1, cover of "Songs of Men." The cover is yellow with stains at the top and with a black spine.. The black title is stamped at the top followed by a black circular graphic.

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 ""There Are No Islands, Any More": Lines Written in Passion and in Deep Concern for England, France and My Own Country" by Edna St. Vincent Millay, held by UNT Special Collections. The pale blue/green cover has the title in navy blue inside of a curved frame design. Image 2, title page of the book, with the page on the left containing a list of other books by Millay. At 10 pages long, Edna St. Vincent Millay’s There Are No Islands, Any More is a book containing only one poem. Written on the cusp of World War II, “in Passion and in Deep Concern for England, France and My Own Country,” the poem chides the isolationist stance still prevalent among many Americans amidst the growing threat of Fascism and Nazism. Millay’s patriotism and support of the war contrasts her previous role as a pacifist in World War I, and is epitomized by the book’s copyright page, which bears a statement by Millay: “This poem, written by me in the cause of democracy, has been printed and distributed with my permission, free of royalty to me or profit to my publishers. All proceeds from the sale of this book will …

Photograph of the cover of "The Winnowing Fan: Poems on the Great War" by Laurence Binyon, held by UNT Special Collections. The dark green cover has the name nad author printed at the top of the book in gold lettering.

Photograph of Bess [last name not identified] from Miami, Florida at the 2015 Collaborating with Strangers event held in the Willis Library.

Photograph of Carol Hallman, User Accounts Manager, University of North Texas Libraries, holding a hand-bell at the 2015 Collaborating with Strangers event at the Willis Library.

Photograph of Carol Hargis, former University of North Texas Libraries staff member, from Scottsdale, Arizona at the 2015 Collaborating with Strangers event held in the Willis Library.

Photograph of the 2015 Collaborating with Strangers event in the Willis Library. Participants are shown facing one another while standing in the library's conference area.

Photograph of two female participants speaking to one another at the 2015 Collaborating with Strangers event in the Willis Library.

Photograph of the 2015 Collaborating with Strangers event in the Willis Library. Participants are shown facing one another while standing in the library's conference area.

Photograph of the 2015 Collaborating with Strangers professional development event held in the Willis Library. Standing and speaking to the crowd is Susan Smith, Head of Library Research Support Services.

Photograph of the 2015 Collaborating with Strangers event in the Willis Library. Participants are shown reading and studying the instructional materials at the tables.

Photograph of the 2015 Collaborating with Strangers event in the Willis Library. Participants are shown reading and studying the instructional materials at the tables.

Photograph of the 2015 Collaborating with Strangers event in the Willis Library. Participants are shown facing one another while standing in the library's conference area.

Photograph of Karen Harker, University of North Texas Libraries, Collection Assessment Librarian, at the 2015 Collaborating with Strangers event held in the Willis Library.

Photograph of a staff member at the 2015 Collaborating with Strangers professional development event in the Willis Library.

Photograph of Rebecca Barham, University of North Texas Librarian, taking a photograph of a fellow participant at the 2015 Collaborating with Strangers event held in the Willis Library.

Photograph of Spencer Keralis, Head, Digital Humanities & Collaborative Programs at the University of North Texas Libraries, handing out instruction materials at the 2015 Collaborating with Strangers event in the Willis Library.

Photograph of Susan Smith, Head, Library Research Support Services at the University of North Texas Libraries, speaking with fellow participants at the 2015 Collaborating with Strangers event at the Willis Library.

Photograph of Susan Smith, Head, Library Research Support Services at the University of North Texas Libraries, speaking to participants of the 2015 Collaborating with Strangers event in the Willis Library.

Photograph of the 2015 Homecoming Court riding on a float and waving to the crowd through downtown Denton, TX.