On the 11th hour of the 11th day of the 11th month of 1918, an armistice between Allied forces and Germany put an end to the fighting of what was then referred to as the Great War. President Woodrow Wilson declared November 11, of the following year, Armistice Day. In 1938, an act of Congress made the day a legal holiday, and by 1954, that act was amended to create Veterans Day, to honor American veterans of all wars.

Journalist Adam Hochschild, author of To End All Wars (2011), an account of World War I from the perspective of both hawks and doves in Great Britain, provides his picks of books to read to better understand the conflict.

Hell’s Foundations (1992), by Geoffrey Moorhouse

Of the 84 British regiments that fought in the Gallipoli campaign in Turkey in 1915 and 1916, the Lancashire Fusiliers from Bury, in northern England, suffered the most casualties. The regiment lost 13,642 men in the war—1,816 in Gallipoli alone.

For journalist Geoffrey Moorhouse, the subject hit close to home. He grew up in the small mill town of Bury, and his grandfather had survived Gallipoli. In Hell’s Foundations, Moorhouse describes the town, its residents’ attitudes toward the war and the continued suffering of the soldiers who survived.

From Hochschild: A fascinating and unusual look at the war in microcosm, by showing its effects on one English town.

Testament of Youth (1933), by Vera Brittain

In 1915, Vera Brittain, then a student at the University of Oxford, enlisted as a nurse in the British Army’s Voluntary Aid Detachment. She saw the horrors of war firsthand while stationed in England, Malta and France. Wanting to write about her experiences, she initially set to work on a novel, but was discouraged by the form. She then considered publishing her actual diaries. Ultimately, however, she wrote cathartically about her life between the years 1900 and 1925 in a memoir, Testament of Youth. The memoir has been called the best-known book of a woman’s World War I experience, and is a significant work for the feminist movement and the development of autobiography as a genre.

From Hochschild: Brittain lost her brother, her fiancé and a close friend to the war, while working as a nurse herself.

Regeneration Trilogy, by Pat Barker

In the 1990s, British author Pat Barker penned three novels: Regeneration (1991), The Eye in the Door (1993) and The Ghost Road (1995). Though fictional, the series, about shell-shocked officers in the British army, is based, in part, on true-life stories. Barker’s character Siegfried Sassoon, for instance, was closely based on the real Siegfried Sassoon, a poet and soldier in the war, and Dr. W.H.R. Rivers was based on the actual neurologist of that name, who treated patients, including Sassoon, at the Craiglockhart War Hospital in Scotland. The New York Times once called the trilogy a “fierce meditation on the horrors of war and its psychological aftermath.”

From Hochschild: The finest account of the war in recent fiction, written with searing eloquence and a wide angle of vision that ranges from the madness of the front lines to the fate of war resisters in prison.

The Great War and Modern Memory (1975), by Paul Fussell

After serving as an infantry officer in World War II, Paul Fussell felt a kinship to soldiers of the First World War. Yet he wondered just how much he had in common with their experiences. “What did the war feel like to those whose world was the trenches? How did they get through this bizarre experience? And finally, how did they transform their feelings into language and literary form?” he writes in the afterword to the 25th anniversary edition of his monumental book The Great War and Modern Memory.

To answer these questions, Fussell went directly to firsthand accounts of World War I written by 20 or 30 British men who fought in it. It was from this literary perspective that he wrote The Great War and Modern Memory, about life in the trenches. Military historian John Keegan once called the book “an encapsulation of a collective European experience.”

From Hochschild: A subtle, superb examination of the literature and mythology of the war, by a scholar who was himself a wounded veteran of World War II.

The First World War (1998), by John Keegan

The title is simple and straightforward, and yet in and of itself poses an enormous challenge to its writer: to tell the full story of World War I. Keegan’s account of the war is, no doubt, panoramic. Its most commended elements include the historian’s dissections of military tactics, both geographical and technological, used in specific battles and his reflections on the thought processes of the world leaders involved.

From Hochschild: This enormous cataclysm is hard to contain in a single one-volume overview, but Keegan’s is probably the best attempt to do so.