For most of the world, the memory of the slaughter of the Jews, pursued with such disciplined ferocity to the bitter end, demands respect. It gets it, not just in the thousands of records of the event, but in art, too. Primo Levi, the Milanese Jew who survived Auschwitz itself, wrote memoirs (If This Is a Man; The Truce) and novels (The Wrench; If Not Now, When?) that have the power of understated horror and serve as a kind of standard for all others. Films – Roman Polanski’s The Pianist (2002) and Stephen Daldry’s The Reader (2008) – two of the better known of the past decade – are somber, tragic affairs, the subject matter with which they work precluding anything approaching a happy ending.