Over seventy years after the fallout of the Nazi genocide, depicting the Shoah continues to serve as a subject of widespread debate. Balancing the aesthetics of representation with historical accountability poses unique challenges to both readers and writers of Holocaust literature. In its extensive considerations of time and place, in its troubling of the conventional limitations of the Canadian novel, and in its suggestive possibilities both inside and outside of the ethnic mainstream, the genre is one of ample opportunity — a prospect that entails enormous responsibility. The difficulty of finding the appropriate language to represent the horrors of the Shoah is the central subject of this thesis, which focuses on interpretive responsibility in Mavis Gallant’s “The Pegnitz Junction” (1973). It situates the novella in both a theoretical and Canadian literary context, examines Gallant’s understanding of the ethics of aestheticizing the event, provides a full-length study of the story, and attempts to fill some of the gaps in critical scholarship by drawing attention to the multidimensionality of the text’s portrayal of a post-Auschwitz world. I look closely at how Gallant’s work prompts a suspension of logic and normalcy, and in turn reconceptualizes the novella insofar as its indirection causes her readership to contemplate whether Holocaust responsibility is, in the words of D.G. Myers, “to be shared by [readers], despite the fact that they are not to blame” (270). I suggest that the novella is a medium in which refusal to provide logical explanations for the Holocaust through aesthetic representation not only allows audiences to ponder the implications of humanity’s capacity to preserve and erase historical memory, but also causes them to consider how human beings ought to respond responsibly to the ramifications of historical trauma. / Thesis / Master of Arts (MA)