Only the fourth and final segment of Sebald’s narrative fiction is set in Manchester, but the author’s description of the city, greatly inspired by Butor’s depiction of it in Passing Time as a perpetually-damp, ash-polluted prison, is unforgettable in suggesting a notional concentration camp. Sebald familiarly wrestles with the German conscience, here offering four accounts of persons displaced by the genocide. In the concluding passage it is painter Max Ferber whose homeland remains with him in spite of his move.