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Holocaust literature is an artistic expression, which in many ways sits outside the established understandings of literature and its purpose. The Holocaust itself was an event so unique in its complexities that it separated from other historic atrocities. The Holocaust is not just a historical event. It affected psychology, sociology, politics, innovation, medicine, engineering, ethics, morality, and artistic expressions. Throughout this essay, I will argue the case for Holocaust literature: what exactly is it, what unique challenges does it face as a genre, how it is evolving, and how best to read it. Authors in this genre have a great responsibility to present factual information through the use of prose. This is particularly of concern as survivors die and new voices emerge, whether they are the children of survivors or not. The telling of the many stories of the Holocaust can help us all become witnesses of a human tragedy that, although highly secretive and manipulative of language, emotions, and events, affected the entire world.

Foreboding and wishful thinking in a town with a difference -- Our mother Eve on a death train -- The prophet of wrath and lamentation -- The Shoah as an asylum -- And he survived "Planet Auschwitz" -- A funny and sensitive story about Holocaust memory in Israel.

Täter*innen sind heute omnipräsent - in Film, Fernsehen, Literatur, Forschung und Popkultur. Eine kritische Reflexion der Darstellungen ist besonders da geboten, wo sie zur Identifikation einladen. Paradigmatisch für diesen ambivalenten gesellschaftlichen Trend steht die Holocaust-Literatur aus Täterperspektive. Neben einem umfassenden thematischen Forschungsüberblick legt Eva Mona Altmann ein innovatives, interdisziplinäres Modell zur Textanalyse vor, das die spezifische Rhetorik der Täter, die Steuerung von Empathie und Sympathie sowie die Möglichkeit einer textimmanenten Dekonstruktion des Täterdiskurses durch das literarische Verfahren des unglaubwürdigen Erzählens berücksichtigt.

Frontmatter -- Inhalt -- Danksagung -- Einleitung -- Teil A: Thematische Einführung -- 1. Die Benennung der historischen Ereignisse -- 2. Definition: Holocaust-Literatur -- 3. Der Unsagbarkeitstopos -- 4. Holocaust-Literatur aus Täterperspektive -- 5. Der Turn to the Perpetrator -- Teil B: Interdisziplinäres Konzept für die Textanalyse -- 6. Methodische Vorüberlegung -- 7. Die Rhetorik der Täter -- 8. Empathie, Identifikation, Sympathie und Antipathie -- 9. Erzählerische (Un)glaubwürdigkeit -- 10. Tabellarische Übersicht -- 11. Zusammenfassung -- Teil C: Textanalyse – Anwendungsbeispiele -- 12. Textauswahl und Aufbau der Analyse -- 13. La mort est mon métier (1952) von Robert Merle -- 14. Les Bienveillantes (2006) von Jonathan Littell -- 15. Vergleichende Betrachtung -- Schlussbemerkung -- Literaturverzeichnis

Abstract
For a long time, factual truth was a prerequisite for Holocaust literature. Thus, autobiographical texts were strongly preferred over fiction. From the 1980s onward, however, the boundaries between 'fabricated' and 'true' turn out to be blurred, though scandals still arise when something that was thought to be true turns out to be fabricated or non-autobiographical. For theologians who are looking for answers to the theodicy question in Holocaust literature, such as Elie Wiesel's novella Night, the question of factuality is of less importance. What they must never lose sight of, however, is that ambiguity is an important property of literary texts, and that they do not do justice to such texts by ignoring that ambiguity. In general, theologians and philosophers searching for lessons for humanity should be wary of using the Holocaust and its literature for their own ends.

This paper examines Anne Michaels' Fugitive Pieces (2007) in the context of Holocaust literature and historiography. It begins with an introduction to the genre of Holocaust literature and the problematic nature of 'survivor' testimony. Michaels' work is then contextualized within this body of literature. The essay goes on to examine the means through which Michaels approaches the act of writing history, specifically the recording of history through alternative means to the hegemonic historiography utilized by the Nazis.