Photography has become the central medium for conveying the past in the 20th century. In literature and theory, it often appears as the Other of the text at first glance. However, it simultaneously concerns the text as a medium of memory: in photography, literature finds what eludes its memory. Through detailed readings of classical texts on photography (Barthes, Benjamin, Kracauer, as well as Proust and Brecht) and based on the problematic memory after Auschwitz in the works of Jorge Semprun, Georges Perec, Hubert Fichte, and Christa Wolf, Jan Gerstner demonstrates that a theory of memory cannot do without an intermedial perspective.