Memoria [EN] No. 14 (11/2018) | Page 16

image of the camp depicted in it, one must conclude that his memory with the authentic history is very loose. Much of the information presented in the book is not confirmed in sources and literature on the subject. The book should, therefore, be perceived as an impression devoid of documentary value on the topic of Auschwitz, only inspired by authentic events. The proportion between testimony and factography and narrative fiction are definitely shifted towards the latter.

The most common and most evocative symbols of Auschwitz (such as the Arbeit Macht Frei gate, numbers tattooed on the forearm, the gas chambers, Dr Mengele) have been woven into the content. Their goal, however, is to create a background for a story of the great love of two young people in the death camp. The gruesome scene taking place inside the gas chamber calls to mind the aforementioned The Boy In The Striped Pyjamas or the final scene of the movie The Devil's Arithmetic (1999). It is perhaps not a coincidence, considering that the author has previously been involved in writing screenplays and the text based on the memories of Eisenberg was initially intended to assume such form. It finally became a novel, which the author herself emphasises, and so this book should be treated as such. There is no doubt that Morris had the ambition to write a novel similar to a document and wanted memory and history to tread in perfect harmony in the book. Unfortunately, in spite of the help of archivists (as can be deduced from the acknowledgements included in the book), she was unable to accomplish this intention.