Abstract
Issues of authorship in nonfiction literature, in particular in works representing traumatic experiences, such as the Auschwitz concentration camp or the period of occupation of Berlin by Soviet troops after World War II, are considered. It is noted that this problem is complex and multifaceted, going beyond the usual understanding of authorship. In the example of the works of Edith Jaeger (“Choice”) and Martha Hillers (“A Woman in Berlin”), the author analyzes different approaches to authorship and their impact on the perception of texts and interaction with the reader. The relevance of the work is due to the lack of a precise terminological apparatus in Ukrainian literary studies for analyzing nonfiction. At the same time, the authorship of fiction is a well-researched aspect; authorship in nonfiction texts, which balances between facts and interpretation, opens up new discussions about the limits of truth and ethical responsibility. Edith Jaeger chooses an open approach, legitimizing her experience through her identity, which serves as a tool of therapy and authority. Instead, Gillers, remaining anonymous, uses this approach as a defense mechanism that allows her to share painful events while avoiding the risk of public attack. It is noted that their works not only transform individual memories into public memory but also question the boundaries between authorship, authenticity, and ethical aspects of representation. Both cases demonstrate that authorship in nonfiction is a key element that influences narrative formation, traumatic experience representation, and audience interaction. The conclusions emphasize that such works reveal a profound dynamic between the personal, historical, and literary dimensions, raising important questions of authenticity, responsibility, and representation.