This article presents a consideration of W.G. Sebald's 2001 work Austerlitz-his final novel-according to a variety of spatial and cartographic concepts, including 'fluid cartography,' and the notion of countermapping. Particularly, the article will explore the eponymous protagonist's sense that 'time does not exist at all, only various spaces interlocking according to the rules of a higher form of stereometry,' and will demonstrate how this subjective experience of time is a consequence of the absence of memory experienced by the protagonist in relation to his origins as a Kindertransport survivor of the Holocaust. Similarly, the article will explore how spaces-particularly buildings-and material artefacts come to act as an (insufficient) surrogate for memory within the text. All of the above will be framed according to a reading of the fundamental spatiality of Sebald's works, and particularly their map-like quality.