In his portrait of Mordecai Strigler (New Yorker, 10 Jan. 1994) David Remnick describes how, after his liberation from Buchenwald, he immediately began to write Maydanek “as if truly possessed, spinning out a vast cycle of semifictional books on the Holocaust, which were among the first eyewitness accounts of horror.” The “semifictional” mixing of facts and fictions does not seem to qualify for Remnick the value of “eyewitnessing;” and Strigler’s highly personal docu-fictional narration has been the model for a huge body of Holocaust literature dealing with the experience of literally unbelievable victimization.