The Beat Cop: Chicago’s Chief O’Neill and the Creation of Irish Music

men settling back into the security of home life and experiencing loving care and comfort in family support. Here, Bate has carried out admirable work in tracing the afterlives of some of the facially-injured men from the Great War. In terms of visual representation of facial trauma during the Great War, existing academic discourse to date has tended to rely on the Gillies’ Archive of patient records and images. For example, Suzannah Biernoff and Emma Chambers have produced outstanding analyses on Henry Tonks’ portraits and other images. However, while this is a rich seam of fascinating and valuable resources relating to the medical visual cultures of facial injury during the conflict, it is refreshing to see untapped materials subjected to Bate’s careful scrutiny. Photography in the Great War gives an important, alternative perspective on not only the visual recording of these injuries, but also on the work of other clinicians and some of their patients’ stories