This article expands the range of critical responses to nachschrift, Heimrad Bäcker's 1986 work that uses the methods of concrete and visual poetry to present quotations from documents about the Shoah. The article proposes that transcript should be considered not only as a documentary work but also as a work determined by several forms of incompleteness, and it shows how the aestheticizing aspects of Bäcker's text repeat or quote National Socialism's will to aestheticize.

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