‘They’ll slowly undress us first and then kill us, so our clothes won’t get bloody and our banknotes won’t get damaged.’ These words, spoken by Otto Silbermann in Ulrich Alexander Boschwitz’s The Passenger, are startling. Not because they so perfectly articulate the obscene ethos of Auschwitz but because they were written several years before the fact.
Composed in 1938, after its author had escaped the more murderous developments of Hitler’s regime, The Passenger is a tense, nightmarish account of one Jewish man’s attempt to survive...

Disagree with half of it, enjoy reading all of it
TRY A MONTH FREE
Our magazine articles are for subscribers only. Try a month of Britain’s best writing, absolutely free.
Already a subscriber? Log in
Comments
Join the debate, free for a month
Be part of the conversation with other Spectator readers by getting your first month free.
UNLOCK ACCESS Try a month freeAlready a subscriber? Log in