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 "Songs of Youth and War" by P.H.B. Lyon, held by UNT Special Collections. The umber cover has the title and author at the top stamped in black lettering. Image 2, pages 60 and 61. Page 60 is titled "Intermezzo" and another section titled "One A Sergeant's Grave." Page 61 is a titled poem. "The Dead Who Die Not."

Photograph of the cover of "The War Poems of Siegfried Sassoon" by Siegfried Sassoon, held by UNT Special Collections. The cover is red with the title on a white lbel at the top in black print. 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 …

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.

Photograph of the cover of "Backgrounds" by Grace Mary Golden, held by UNT Special Collections. The pale grey paper book contains the title and author at the top, the publishing info at the bottom. Most of the page is covered by an illustration of a woman watching a soldier rowing at sea with a dog next to her. All the wording and illustrations are in black.

Photographs of "The Years Between" by Rudyard Kipling, held by UNT Special Collections. The cover of the book is pale pink with the front framed by double dark blue lines. The title and author are printed at the top in blue, followed by a drawing of a soldier in uniform sitting down with papers in his hand. Image 2, text titled "Epitaphs" on page 135 of the book.

Photograph of a Victory Liberty Loan "Honor Roll" poster from World War I, held by UNT Special Collections. The top half of the poster is an illustration of a white, red-framed flag with a giant navy V in it. Above it are the words "Honor Roll" in navy. Under the flag are small navy words that say "The Following Patriotic Men and Women in this Organization Have Invested in the" followed by "Victory Liberty Loan" in red. The bottom half of the poster contains five columns filled with numbered lines, numbering 1-100.

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 "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 "Chicago Poems" by Carl Sandburg, held by UNT Special Collections. The cover is dark green with the title and author in gold lettering at the top and the front framed by a gold line. Image 2, open book with the page on the right titled "Killers" and the left page blank. Image 3, pages 86 and 87. Page 87 contains a poem titled "Among the Red Guns."

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 "Yanks," held by UNT Special Collections. The pale brown book is worn around the edges and contains the title inside a rectangle, all imprinted in gold.

Photograph of the cover of "Days of Destiny: War Poems at Home and Abroad" by R. Gorell Barnes, held by UNT Special Collections. The cover is worn grey in cover with the title in a white box at the top, with the D's red and the box framed by a red line.

Photographs of "Songs & Sonnets for England in War Time" a collection of lyrics by various authors inspired by the great war, held by UNT Special Collections. Published in the fall of 1914, just a month after Britain joined World War I, Songs and Sonnets for England in War Time reprints poems from a variety of newspapers and magazines. These are meant to inspire the nation and its individual subjects to victory and greatness in time of war. The volume’s cover is made of a grey wrapper that is not attached to the spine but folded over thick cardstock. Printed in red, the cover portrays Justica Britannia enthroned with a drawn sword raised in one hand and the scales of justice in the other, representing Britain's justness and might. The title page features an epigraph by Sir Walter Scott, and both the unattributed introduction and the publisher’s note by John Lane stress that patriotism can be inspired by verse for those called to serve and for those on the home front. Reinforcing this patriotic bent, the back cover and the inside front cover proclaim that the book’s profits will be donated to the Prince of Wales’ National Relief Fund, a …

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 "Vision of War" by Lincoln Colcord, held by UNT Special Collections. The cover is red with the title at the top. Above it is a banner with sun rays graphic. Towards the bottom of the cover is a black imprinted teepee.

Photograph of the cover of "Valour and Vision: Poems of the War" by Jacqueline T. Trotter, held by UNT Special Collections. The book cover is dark red with a white label containing the title at the top. The first letter of some of the words is red.

Photograph of 4th Liberty Loan "Honor Roll" poster from World War I, held by UNT Special Collections. The poster has an illustration of a red framed flag at the top with four blue stripes down the middle. The words "Help our town win this flag" are in dark blue at the top. Under the flag is the title "4th Liberty Loan" in red. The bottom half of the poster has four columns of numbered lines numbering 1-100.

Photograph of the cover of "The Collected Poems of Rupert Brooke" by Rupert Brooke, held by UNT Special Collections. The simple black book has the title in a white box at the top, 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 a touchstone …