Abstract
The author analyzes three memoirs concerning the Holocaust which have gained publicity and have been exposed as completely untrue (Binjamin Wilkomirski, Mischa Defonesca) and partially embellished. These cases have raised many questions about the relation between memory and imagination, truth and fiction as well as the motivations in borrowing of the survivor’s identity and breaking the autobiographical pact. In some respects, however, the memoirs of Wilkomirski, Defonesca and Rosenblat represent a model story about the Holocaust – precisely such as isanticipated by the contemporary reader.
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