Holocaust fiction is one of the most contentious of the myriad of new literary genres that have emerged over the last hundred years. It exists as a limitless adjunct, or supplement, to the relatively finite corpus of Holocaust memoir. Although in the realm of fiction the imagination usually has a primary position, in this special case it is often constricted by a complex web of ethical dilemmas that arise at every turn, and even the smallest of oversights or misjudgments on the part of the writer can result in a disproportionate level of potential damage. The critical component of this thesis will explore these moral and ethical questions by taking as a starting-point the more generally acceptable mode of memoir and, by relying in part upon elements of Derridean theory, interrogating the extent to which writing may be already internal to the process of memory, and fiction may be already internal to the process of writing. On this basis, it will then seek to justify the application of fiction to the Holocaust on moral terms, but only within certain boundaries. It will not attempt to establish a rigorous set of guidelines on which such boundaries may be founded, but instead, via an analysis of what may constitute a failure, suggest that there are a number of elements which are present when Holocaust fiction is successful. The creative component - a novel, 'The English German Girl' - attempts to carry out a practical demonstration of Holocaust fiction along these lines.