In W.G. Sebald’s The Emigrants the oblique relationship between narrative and image -- despite their interplay they are not synthesized – is associated with the workings of postmemory. In the fourth section of the novel the pictures of a German Jewish family that has emigrated to England and whose experience of the holocaust the narrator seeks to reconstruct are juxtaposed to the landscape which represses that history, generating a reiteration of that repression. The haunting presence of the images is paralleled by the paintings of a descendant of this family. The painter intentionally creates pentimento effects in his work: layers of paint hide and reveal the layers below. The methods of both painter and narrator involve a demonstration of the continued presence of loss. And when the narrator finally reaches the Lanzburg family gravesite he finds three empty gravestones and the only occupied grave, that of the painter’s mother who committed suicide. This becomes the thematic center of the novel whose narrator is left “no knowing what he should think.” His inability to turn self-reflection into resolution is contrasted with a Turkish woman’s observation of Germany that the country is characterized by a refusal to reflect. The experience of disturbed self-reflection extends to the reader who must not only bear witness to the inconclusiveness of the narrator’s discourse but take part in it, thus revealing the traces of the destruction and murder that the landscape through which he is traveling has tried to erase.