Abstract
This article examines Gruber's novel as a response to Europe's role as a place of transit and refuge by asking whether and how its literary methods increase empathy for the human suffering at its thematic core. In the main plot, the crisis photographer Daldossi and the journalist Johanna, both estranged from their life partners, grow tentatively close on a trip to Lampedusa to cover refugees landing. Applying critical insights about crisis photography, the article finds that descriptions of a Mediterranean crossing and Daldossi's photographs reveal the possibilities of moral sympathy more compellingly than Daldossi's own story does.
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