The First World War displayed the complicated connection that people have with space as they navigate between the exterior environment and their interior emotional reactions. Among these spaces is the threshold chronotope, which is one of the most notable ones that Mikhail Bakhtin discusses in his article “Forms of the Chronotope in the Novel”. He characterizes this category of space as one that elucidates the demarcation between spaces symbolized by the in-between; it can be summed up in periods of unrest and absence of resolution and decision-making during times of crisis, such as train stations, airports, bridges, and borders; it is also exemplified in the time of anticipation, as when women wait in windows and doors in the time of the war. This study aims to examine the poems of Jessie Pope’s war poems in terms of her representation of the chronotope of threshold based on the spatial perspectives of Bakhtin. During wartime, this space category has a direct impact on the experiences of women and soldiers. Pope, despite her supportive and encouraging stance and her explicit response towards war through her patriotic poems for soldiers during the time of the war; however, she employs threshold chronotope to address the challenging issues and situations that arise during times of crisis, including isolation, fragmentation, separation, distance, marginalization, and restriction. She employs metaphor to represent this form of chronotope, as areas that affect women’s lives as poets, ordinary citizens, and soldiers who are the women’s sons, brothers, husbands, and friends. Finally, Pope’s portrayal of space as a crisis-ridden environment that befalls both women and soldiers corresponds with Bakhtin’s definition of the concept of the threshold.