This thesis examines Louis-Ferdinand Celine’s 1932 novel Voyage au bout de la nuit as a rewriting of his memory of the Great War 1914-1918. It seeks to resolve the truth problematic posed by the inversion in Voyage au bout de la nuit of Celine’s experience in the war, primarily the transition from Celine’s heroism in the war to his fictional self-portrait as the coward, Bardamu. It seeks to clarify the role and value of Celine’s fictional witness to war by placing the novel in a broadly developed context of the war and its commemoration. A major premise of this thesis is that Celine was traumatised by the war and that his rewriting of his war experience is informed by his need to break free of traumatised memory through the creation of a new, literary narrative of his personal past. By drawing on the literature of trauma and survival, as well as on studies of the Great War and other wars, this thesis succeeds in establishing that Celine was, indeed, traumatised by his war experience and succeeds in showing the many ways in which this trauma shapes Voyage. It also provides a thorough account of how Voyage as literary artefact engages with the memory of the Great War and how it functions as witness to war and the consequence of war. It brings us ultimately towards the dynamic of accusation which lies at the heart of Celine’s traumatic memory of the Great War and which underlies its keynotes of irony, satire and invective. This thesis is multi-disciplinary in its approach, drawing on historical, biographical, psychological, and literary studies. It provides an important contribution to Celine studies, but also to studies of the Great War, the memory and literature of the Great War and to studies of twentieth-century trauma, memory and identity.