In browsing several postwar magazines, I noticed a recurring theme of embracing the coming of peace. For example, The Crisis of January 1919 features the following cover:
Not only is it good that the war was won, this cover also suggests that war, in itself, is undesirable, and thus it is good that the war is over. This is somewhat of a contrast to the magazine's embrace of the war and celebration of its African-American soldiers during wartime, but also to be a predictable shift back to its peaceful leanings of antiwar sentiment, as seen in the previously discussed piece "To the Children of Peace" of the October 1914 issue:
Intriguingly, not only is the end of war good, the advent of peace is positively Christlike. "Ring in the Christ, that is to be!" urges Tennyson. This makes for an intriguing contrast with the also previously-discussed piece, "WAR," in the October 1914 issue, which places The Lord in a somewhat conflicted role with regards to the war, with the power to end or sustain it.
Lastly, war in the January 1919 cover of The Crisis is connected with the old as well as the undesirable. Being rung out is "old shapes of foul disease" along with "the thousand wars of old." It seems to suggest that peace is the wave of the future, the true and desirable state of modernity.
Sadly, although The Crisis previously painted involvement in the war as the ticket to equal rights for African-Americans, the first editorial in the January 1919 issue suggests that this did not prove to be the case.
The author here contrasts the good things peace is bringing to European nations with the plight of the black soldiers who fought in the war and those who supported the effort at home, who still return home to a country in which "POLITICAL EQUALITY, ECONOMIC OPPORTUNITY, CIVIL RIGHTS, JUSTICE before the law, all these, our "old desires," are as far away as ever" (111). Thus, though the end of war is certainly to be celebrated, there are still som who do not benefit from peace. The author does conclude, however, that the war did result in "the awakening of the social conscience," and thus if (and only if) the readers of The Crisis keep up their spirited efforts, change can still result.
The postwar content of The Little Review is somewhat less clear-cut. Yeats' play "The Dreaming of The Bones" is a complex exploration of Irish history and death.
Most notable for my purposes here, however, is the way in which the Young Man speaks of war on page 4 when he notes, "I think there was no man of us but hated/ To fire at soldiers who but did their duty/ And were not of our race."
Coming on the heels of World War I, it is difficult to not put this statement into the context of that conflict, and the Man's regret at these conflicts suggests a dubiousness toward the validity of international conflict. He does go on to say, however, "but when a man/ Is born in Ireland and of Irish stock/ When he takes part against us--" which suggests that although international conflict is hard to justify on an individual level, or is at least a regrettable circumstance, traitorousness is a different matter.