Abstract
One of the most salient features of Heinrich Böll's short story “Wanderer, kommst du nach Spa…” (1950) is its prominent and liberal use of typographical ellipsis. The ellipses that permeate this wartime story both underline the theme of loss and enable the narrator to use his tale to exercise one last measure of resistance to his fate. As part of a first‐person narrative, the ellipses can be read as an assertion of narrative authority and authenticity. Through the refusal to say certain words and phrases and by rejecting physical and chronological restrictions, the young narrator rejects Nazi ideology and creates for himself a limited yet meaningful sense of freedom. His resistance is mirrored by the final image of the text, an indelible cross on the wall which, like a textual ellipsis, persistently marks that which has been erased.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
