Why is memory politics such a contested field? Why is it so hard to change narratives, overcome enemy images, and draw "objective" pictures of the past? In what way can works of art break the ice and promote "dangerous memories" (Bekerman/Zembylas 2012, 22)? How can works of art, and especially literature, use their aesthetic potential to help achieve attitude changes? In this paper, I examine these questions through the lens of literary criticism. I focus on Maja Haderlap's novel Angel of Oblivion in order to illustrate several typical features of (not just) Austria's memory politics after World War II: on the one hand, Austria's claim as Hitler's first victim; the depreciation of the (Slovenian) anti-fascist partisans; the relativization of Nazi crimes by pointing at the (real or fictional) crimes of Yugoslav communists, and as a consequence the denial of the minority rights of Carinthian (and Styrian) Slovenians. And on the other hand, the struggle for a democratic and honest memory culture - not only within Austria's borders but beyond, in the entire "Alps-Adriatic" region. Haderlap's book is itself a wonderful example of the success of this ongoing endeavour.