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How the United States Used War Memorials and Soldier Poetry to Commemorate the Great War

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How the United States Used War Memorials and Soldier Poetry to Commemorate the Great War Memories in stone and ink: How the United States used war memorials and soldier poetry to Commemorate the Great War by Jennifer Madeline Zoebelein B.A., Mary Washington College, 2004 M.A., The University of Charleston and The Military College of South Carolina, 2008 AN ABSTRACT OF A DISSERTATION submitted in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY Department of History College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2018 Abstract War occupies an important place in the collective memory of the United States, with many of its defining moments centered on times of intense trauma. American memory of World War I, however, pales in comparison to the Civil War and World War II, which has led to the conflict’s categorization as a “forgotten” war—terminology that ignores the widespread commemorative efforts undertaken by Americans in the war’s aftermath. In fact, the interwar period witnessed a multitude of memorialization projects, ranging from architectural memorials to literature. It is this dichotomy between contemporary understanding and the reality of the conflict’s aftermath that is at the heart of this study, which seeks to illuminate the prominent position held by the First World War in early twentieth century American society. The dissertation examines three war memorials: the Liberty Memorial in Kansas City, Missouri; the District of Columbia World War Memorial in West Potomac Park, Washington, D.C.; and Kansas State University’s Memorial Stadium in Manhattan, Kansas. The work also analyzes seven volumes of soldier poetry, published between 1916 and 1921: Poems, by Alan Seeger; With the Armies of France, by William Cary Sanger, Jr.; Echoes of France: Verses from my Journal and Letters, March 14, 1918 to July 14, 1919 and Afterwards, by Amy Robbins Ware; The Tempering, by Howard Swazey Buck; Wampum and Old Gold, by Hervey Allen; The Log of the Devil Dog and Other Verses, by Byron H. Comstock; and Rhymes of a Lost Battalion Doughboy, by Lee Charles McCollum. Despite the presence of some thematic similarities between the two modes of remembrance, each mode had different objectives and audiences, contributing to the creation of distinct and competing forms of collective memory regarding American involvement in the Great War. Taken together, the two modes provide a more complete picture of American memorialization to World War I than if studied independently. This interdisciplinary approach to understanding commemorative efforts during the interwar period is vital to understanding the war and its legacy, and thus beneficial to both historical scholarship and the public. Memories in stone and ink: How the United States used war memorials and soldier poetry to commemorate the Great War by Jennifer Madeline Zoebelein B.A., Mary Washington College, 2004 M.A., The University of Charleston and The Military College of South Carolina, 2008 A DISSERTATION submitted in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY Department of History College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2018 Approved by: Major Professor Mark P. Parillo Copyright © Jennifer Zoebelein 2018. Abstract War occupies an important place in the collective memory of the United States, with many of its defining moments centered on times of intense trauma. American memory of World War I, however, pales in comparison to the Civil War and World War II, which has led to the conflict’s categorization as a “forgotten” war—terminology that ignores the widespread commemorative efforts undertaken by Americans in the war’s aftermath. In fact, the interwar period witnessed a multitude of memorialization projects, ranging from architectural memorials to literature. It is this dichotomy between contemporary understanding and the reality of the conflict’s aftermath that is at the heart of this study, which seeks to illuminate the prominent position held by the First World War in early twentieth century American society. The dissertation examines three war memorials: the Liberty Memorial in Kansas City, Missouri; the District of Columbia World War Memorial in West Potomac Park, Washington, D.C.; and Kansas State University’s Memorial Stadium in Manhattan, Kansas. The work also analyzes seven volumes of soldier poetry, published between 1916 and 1921: Poems, by Alan Seeger; With the Armies of France, by William Cary Sanger, Jr.; Echoes of France: Verses from my Journal and Letters, March 14, 1918 to July 14, 1919 and Afterwards, by Amy Robbins Ware; The Tempering, by Howard Swazey Buck; Wampum and Old Gold, by Hervey Allen; The Log of the Devil Dog and Other Verses, by Byron H. Comstock; and Rhymes of a Lost Battalion Doughboy, by Lee Charles McCollum. Despite the presence of some thematic similarities between the two modes of remembrance, each mode had different objectives and audiences, contributing to the creation of distinct and competing forms of collective memory regarding American involvement in the Great War. Taken together, the two modes provide a more complete picture of American memorialization to World War I than if studied independently. This interdisciplinary approach to understanding commemorative efforts during the interwar period is vital to understanding the war and its legacy, and thus beneficial to both historical scholarship and the public. Table of Contents List of Figures ................................................................................................................................ ix Acknowledgements ......................................................................................................................... x Dedication ..................................................................................................................................... xii Introduction ..................................................................................................................................... 1 Chapter 1 - “Lest Kansas City Forget Its War Heroes:” The Liberty Memorial and Early Postwar Memory Construction ............................................................................................................ 23 Chapter 2 - “A Band Stand for Potomac Park: Local Remembrance on the National Mall ......... 63 Chapter 3 - “A Glorious Meeting Place of Physical Contest:” The Creation of Kansas State University’s Memorial Stadium .......................................................................................... 111 Chapter 4 - “Along the Road of Memory:” The Use of Poetry as a Means of Remembrance ... 160 Conclusion .................................................................................................................................. 217 Bibliography ............................................................................................................................... 225 viii List of Figures Figure 1.1. A 1926 photograph of the Liberty Memorial, as viewed from the south. Courtesy of the National World War I Museum and Memorial Archives, Kansas City, Missouri. ......... 24 Figure 2.1. The District of Columbia World War Memorial, as shown on the cover of the 1931 dedication program. Courtesy of the National Archives and Records Administration, Washington, D.C. .................................................................................................................. 65 Figure 3.1. Memorial Stadium in 1933. Courtesy of the Morse Department of Special Collections, Kansas State University Libraries, Manhattan, Kansas. ................................. 112 ix Acknowledgements When I left the National Park Service seven years ago to come to Kansas State, I did not fully appreciate the marathon-like journey ahead of me, nor the mental and emotional difficulties I would have to overcome to reach the point I am at today. Having successfully reached the finish line, there are several people that deserve special recognition for their help in my climb up the doctoral mountain. First and foremost, I would like to thank my parents, Michael and Mary, and my sisters, Jessica and Janelle. From day one to the final dissertation submission, they have consistently supported and believed in me, never doubting (even when I did) that I would finish what I started. My extended family also deserves recognition, for although I do not see or talk to them as much as I might like, they have always shown interest in my work and expressed their support. Next to my family, I owe a great deal of gratitude to my closest friend and roommate, Kate Tietzen, and two people dear to my heart, Chris Nelson and Mary Kohn. For the last several years, the three of them have stood by me, patiently listening to my complaints while offering guidance and support when I needed it most. It is impossible for me to imagine reaching the end without their presence in my life, something for which I am forever thankful. I would also like to thank my dissertation committee: Drs. Mark Parillo, Sue Zschoche, Tim Dayton, Brent Maner, and Charles Sanders. Throughout my academic career at Kansas State, they have inspired and motivated me to become a better historian and responded with kindness and patience to personal setbacks I encountered along the way. My major professor, Dr. Mark Parillo, deserves special recognition, as he has been everything one could ask of a mentor and more. x It is also important to recognize several department faculty and staff. Drs. Michael Krysko, Louise Breen, and James Sherow, in their positions as department
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