A coda explores the diasporic memory by a Turkish German protagonist in Fatma Aydemir’s 2017 novel Ellbogen and by a non-German Turkish migrant in Nazlı Koca’s The Applicant. Structurally, the characters’ experiences resemble those of Jewish protagonists in novels by Salzmann and Grjasnowa, while also addressing Holocaust memory directly, thus bringing into direct conversation different Jewish and Muslim voices. The new project Stolpertexte – modeled on the widely known Stolpersteine memorials – is an example of literature that brings German Jewish Holocaust memory into the present in new media. The presence of those texts in print, online, and podcast forms makes this memory accessible for today’s readers via literature. All these new creations involve stories of migration, bringing past Jewish life to new and future generations.

This chapter imposes the structure of a walking tour of Berlin’s memorial art onto the text, continuing to stage moments of individual viewing of art. My argument about the material practices of taking responsibility for restitution is turned into a grounded methodology: a shoe-on-the-footpath mode of writing. Beginning in Bebelplatz, I visit recent responses to the past as they are represented in memorial art in different areas of Berlin, including the national Memorial for the Murdered Jews of Europe. I visit Schöneberg where the Places of Remembrance memorial consists of signs of law from the NS regime mounted in the streetscape. I also analyse Gunter Demnig’s Stumbling-stones, which are small memorial stones set into the footpath. This chapter is a plaidoyer for paying attention to the way we craft and take responsibility for our legal landscapes through our conduct – our movement and posture – resulting from our interaction with the street and its objects.