Touchstone Magazine

Articles from Touchstone Magazine

THE BETTER ‘OLE On The London Stage (Touchstone Magazine, 1918)

Before there was Sad Sack, there was Old Billstyle=border:none, Bert and Alf -the later three being the creation of World War One British cartoonist Bruce Bairnsfather (1888-1959; and the former was the brainchild of World War Two Army Sergeant George Baker, 1915 – 1975). Bairnsfather was the creator of a popular cartoon called Old Bill which was widely believed by the Tommies to accurately depict the hardships on the Western Front.
This illustrated article is a theater review of The Better ‘Ole; a funny, well received play written by the cartoonist and staged in London during the closing weeks of the war.

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The Uniforms of Women War Workers (Touchstone Magazine, 1918)

Well-over 30,000 women participated in the United States war effort during World War One. The majority served as nurses, but there were also impressive numbers who volunteered to do their bit as drivers and telephone operators. Many chose to serve in the religious organizations, such as the Y.M.C.A., the Knights of Columbus or the Jewish Welfare Board. They all needed uniforms and that is what this well-illustrated article addresses. Never before had there been such a conflict requiring uniforms be cut in women’s sizes, and this matter was not simply new to American women, it was a new day in human history as well.

The background of women’s service uniforms is war, war of the most terrible kind.


How unseemly any attempt to make the costume pleasing to the eye.

Click here to visit an interesting site dealing with the history of American servicewomen.


If you would like to read about the U.S. Army uniforms for women during W.W. II, click here…


Dressed for Duty: America’s Women in Uniform, 1898-1973style=border:none

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Artist of the Ashcan School: John Sloan (Touchstone Magazine, 1919)

The editors of TOUCHSTONE MAGAZINE hired one of John Sloanstyle=border:none‘s (1871-1951) groupies to interview him for one of their feature articles. It is an informative interview and there are a number of seldom seen sketches reproduced; the opening paragraphs give one a sense of what 1920s Greenwich Village was like at night, although one comes away feeling that the man could do no wrong. John Sloan’s friend, Robert Henristyle=border:none (1865-1929), when given the chance also failed to make any nasty comments about the painter.

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Siegfried Sassoon Reviewed (Touchstone Magazine, 1920)

American poet Marguerite Wilkinson(1883 — 1928) was very impressed with the World War I poetry of Sigfried Sassoon, MC (1886 – 1967); in this three page review she lucidly explained why Sassoon’s voice was different from all the other wartime versifiers and illustrated her point by quoting liberally from his two earlier volumes, The Old Huntsman (1917) and Counter Attack (1918):

Such wisdom is the shining power of Sigfried Sassoon. To read it is to come face to face with indelible memories of unspeakable anguish. No palliatives are offered. The truth about warfare is told, as Mr. Sassoon understands it, with vigor and in sight…It is told by a man, a soldier, who will never forget this Calvary of the youth of our generation.

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