Photograph of a man in a military uniform standing in front of a line of tents, with more soldiers in the background. A note at the bottom of the photo says "Rec'd from Waco."

Photograph of a hospital ward with rows of beds on either side of the long building, and soldiers, some in uniforms and others in gowns, in the middle of the room. A handwritten note on the back of the photo says "Observation Ward, Camp McArthur."

Photograph of Phil Blanchard wearing a military uniform and hat and standing in an open field. The photo was taken at Camp MacArthur in Waco, Texas.

Postcard of a field filled with soldiers doing exercises. A handwritten note on the back of the postcard says "Pa. This is the way we get our muscles hard, just like the old elevator at the mill. You would be surprised how I am hardened up. I feel fine and you bet will be home again soon. Your loving son, Henry."

Photograph of soldiers reclining and sitting on cots at Camp MacArthur, with rows of tents in the background.

Photograph of four unknown World War One soldiers on horseback, all wearing their uniforms.

Portrait of Milton Andrew Matlock, United States Marine, in his uniform.

People lining Congress Avenue watching a parade of military personnel pass on their way from the Capitol.

Crowds on both sides of Congress as the American Legion section of the parade passes.

Copy negative of Arthur Andersen wearing his WWI military uniform. The long-sleeve uniform jacket buttons up the front and features four large pockets, and the pleated plants fit loose and tighten at the knee. Arthur is wearing lace-up shoes and a hat.

Copy negative of Charlie Schaer, who was a World War One soldier from Wharton County, Texas. In the image, Charlie is standing outside a house that is covered with ivy. He is wearing his military uniform.

Photograph of an Armistice Day Parade in Orange, Texas on November 11, 1918. In the foreground is an American flag covered vehicle. A large crowd is moving towards the top of the photograph. Within the crowd are uniformed men, individuals and families. On the bottom left hand corner are wooden beams.

Photograph of a man with combed hair parted on the side. He is wearing a World War I uniform with pins on the collar and shoulder.

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.