Pierre Berton’s 1985 account of the Canadian memory of Vimy Ridge begins: “It is probably that with the exception of the Krakatoa explosion of 1883, in all of history no human ears had ever been assaulted by the intensity of sound produced by the artillery barrage that launched the Battle of Vimy Ridge on April 9, 1917” (Berton 14). Thirty-three years later, Tim Cook’s begins: “The Vimy Memorial, with its white, almost luminescent stone, stands on the ramparts of a ridge in northeastern France, a site of mass killing and myth-making” (Cook 1). These two works considering Vimy Ridge, its memorial, and its legacy begin from two very different perspectives: Berton is grounded in the morning of the battle, which carries the significance of the most powerful volcanic eruption in known history; Cook begins his study immediately before the iconic memorial with an awareness of the century-long distance between his writing and the battle itself, and of all the weighty remembrance that distance has accrued for the Canadian memorialization of the event. Considered side-by-side, these two Vimys highlight the changes (and lack thereof) in popular and historical commemoration of the First World War. This project investigates the memorialization of the First World War and Vimy Ridge in through investigative readings of Timothy Findley’s The Wars, Jane Urquhart’s The Stone Carvers, and both Berton and Cook’s Vimys in the hopes of understanding possible nationalist drives creating and recreating the nation-building myth of the First World War in Canada.