The painful, unrepresentable event of the holocaust is one of the most salient and defining features of the history and identity of Europe. Its suitability for artistic representation has been the focus of intense debate, largely conducted within Europe (Adorno, Steiner, Ricoeur, Kertész), and fictions about the holocaust were, until recently, the domain of European (and Israeli) authors. In his novel on identity, The Nature of Blood, Caryl Phillips –a British author originating from the Caribbean island St. Kitts, and currently living in the USA, appears to defy this tradition and claims the holocaust as a natural subject for his seemingly disparate narratives that are also concerned with the first ghetto in Europe, the character of Othello, and Zionism in Israel. This unlikely mixture is not a mere postcolonial appropriation of metropolitan history, and cannot be explained by the mechanism of ‘the empire writing back’ that characterizes so much postcolonial fictions of the 1970–1990s. Rather, it explores some of the ideas developed in Frantz Fanon's Peau noire, masque blancs, which in its rhetorical linking of the holocaust with racism and imperialist repression is in turn indebted to Jean-Paul Sartre.