All-text poster promotes purchase of war savings stamps.

American eagle with war planes taking off from its nest.

Poster showing numerous scenes of activities sponsored by the American Library Association Library War Service, including interiors and exteriors of facilities, and military personnel reading and studying.

Poster showing Uncle Sam with a soldier and a man purchasing War Savings Stamps.

A female figure representing Marianne is accompanied by a wounded soldier. They collect for the Red Cross. Marianne is dressed in a style to suggest the French Revolution, wearing a blue, white, and red skirt, a uniform jacket worn as a cape, and a long blue and red cap. She holds a Red Cross collecting tin in one hand and a small blue, white, and red keg under her other arm. She guides a wounded soldier, his head bandaged. He has one arm on Marianne’s shoulder, and the other holds a cane. The soldier wears a medal pinned to his coat, a cap with an inscribed band, and is smoking.

World War One-era "small box respirator" gas mask, consisting of a canvas or cloth face piece, with inset glass or resin eye lenses, and straps that wrap around the back of the head. The front of the mask has a valve located behind a cloth-covered tube that goes over the mouth and attaches to a small yellow metal box containing activated charcoal (made of peach pits or the pits from other stone fruits). The wearer would have breathed only through the mouth, inhaling air scrubbed clean by the charcoal in the box, and had their nose squeezed shut by a clip inside the mask.

Doughboy helmet owned by Alvin Mansfield Owsley during World War One, made of steel with an anjustable leather chin strap. Officially known as the M1917 Helmet, it was also known colloquially as the dishpan hat, tin pan hat, washbasin, battle bowler, and Kelly helmet.

Blank postcard with a photograph of a military gathering in Strasbourg, France.

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.

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.

Photograph of the cover of "Soldier Songs from Anzac" by Tom Skeyhill, held by UNT Special Collections. The cover is worn lavender in color, with a double border in black ink. The title is at the top, and the publishing information at the bottom also in black ink.

Photographs of "The Making of Micky Mcghee" by R.W. Campbell, held by UNT Special Collections. The third image shows the book opened up to pages 64-5. On the left page are the words "Carry On" next to a drawing of a soldier kneeling with a long rifle, followed by a bit of text. On the right page are the words "Miners and Miners" next to a drawing of a man holding a shovel followed by a few paragraphs of text. Image 1, pale brown book cover with the title at the top in an illustration of a man standing in front of a sign, and buildings behind it, the author in the bottom right corner. Image 2, inscription written on the inside of the cover in pencil. Robert Walter Campbell, born 1876, served with the Royal Scots Fusiliers in the Boer War (1899 to 1902), and then again with the 5th battalion in Gallipoli (1914) in the Great War. This second tour gave him the material for his poems in support of the war effort. Campbell wrote 25 lively poems and songs in Standard English for The Making of Micky McGhee. Some 20th century Scottish slang is sprinkled throughout.

Photographs of "Socks" by Emily Caroline Oliphant, held by UNT Special Collections. Image 2, shows the title page, the words "Moriendo Vivo" in the middle of it. Image 3, open book with table of contents on the left page and the page on the right the beginning of a chapter titled "Socks" with the date September 1914 under it. Image 4, page of text titled "Socks" on the left and page on right titled "The Mine-Sweepers." Image 1, green book cover with the title and author in the middle in red lettering. In the top right corner are blue, white and red stripes. While not every poem in Emily Caroline Oliphant’s Socks directly concerns the role of women on the home front of World War I, the most noteworthy of the book’s 27 poems, “Socks,” details the almost laughable frustration of the limited contributions a woman could make in contrast to her husband’s sacrifices: “Tis little a woman can do when fighting is to the fore; / True, she can send her menkind now as in days of yore; /... But every minute to spare she knits for her soldier—socks.” The book’s title page bears the information that it was …

Photographs of "Plain Song" by Eden Phillpotts, held by UNT Special Collections. Image 2 shows the table of contents on the left page and a page with a poem titled "August the Fourth." Image 3, continuation of the poem "August the Fourth" and number 2 and 3. Image 1, cover of the book made of grey paper, framed by a thick line with the title at the top followed by the dates 1914-1916. Eden Phillpotts (1862-1960) was born in British India and is best known for his celebration of the landscape of Dartmoor in southern England. His collection of poems, Plain Song, moves from horror to acceptance, but always with a sense of detachment of the poet at home. The opening poem takes its title from the date Britain declared war on Germany, “August 4, 1914.” Thwarting the reader’s expectations, the poem begins with a peaceful woodland scene at dusk, where the speaker watches the moon rise over a clearing filled with emerald-like glow-worms and the purr of a swooping churn-owl, who “throbbed and throbbed, then took his flight...in rapture and delight” (p. 2). The poem ends by shattering this scene “by Nature sanctified” when the speaker suddenly recalls the …