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Writing poetry about the Holocaust is a delicate exercise. For most readers, the topic is practically unbearable. Many of them even feel that the Holocaust eludes all attempts to write poetry about it. For those readers, Auschwitz is the very symbol of that which cannot be depicted, especially not by belles-lettres literature. In fact, it is this aestheticized, simplistic notion of literature as a belles-lettres discipline full of beautiful feelings and in short, the pursuit of good, moral aspirations, that casts doubt upon poetry’s ability to deal with the Holocaust. These doubts have also been influenced by the moral reservations expressed by Theodor Adorno in 1951, which he later retracted.