非虚构文学成立的关键在于非虚构创作者承认作者的文字能够再现现实、读者能够理解作者用文字再现的现实，这是非虚构得以区别于虚构的两条界限。米勒在《共同体的焚毁：奥斯维辛前后的小说》一书中，将体裁上存在非虚构与虚构争议的四部作品《辛德勒名单》《黑犬》《鼠族：一个幸存者的故事》及《无命运的人生》都归在虚构小说这一类别之中，有意忽视这两种体裁的对立，消除它们之间的界限。受德里达的影响，米勒解构界限的原因在于：非虚构创作对象的不可再现性及作者主观性的存在会使非虚构内部存在巨大的悖论，读者的“非认知性”阅读行为也会使文学作品难以被看成是社会的、物质世界的映像。但米勒没有否认文学作 品见证大屠杀的可能性，他虽拒绝记述性的再现行为，但鼓励创作者以运用文学技巧的施行性作品进行见证，从而瓦解读者不愿直接面对大屠杀的心理，化解使用陈述话语描述集中营时所遭遇的质询窘境。

The key to the establishment of non-fiction literature lies in the aspect that nonfiction writers recognize that the author's words can reproduce reality, and readers can understand the reality that the author reproduces with words, which are the two limits that distinguish nonfiction from fiction. In The Conflagration of Community: Fiction Before and After Auschwitz, Miller placed four works in genre controversy, Schindler's List, Black Dogs, MAUS: A Survivor's Tale, and Sorstalanság into the category of fiction, deliberately ignoring the opposition between the two genres and erasing the limits between them. Influenced by Derrida, Miller deconstructed limits for the following reasons: he believed that the irreproducibility of nonfiction creation objects and the existence of authors' subjectivity will lead to great paradoxes within nonfiction, and readers' "non-cognizability" reading behavior will make it difficult for literary works to be regarded as images of the social and material world. However, Miller did not deny the possibility that literature bears witness to the Holocaust. Although he rejected constative representation, he encouraged writers to bear witness to the Holocaust in the performative works using literary techniques, so as to reduce readers' reluctance to face the Holocaust directly and solve the problem of interrogation regarding concentration camps when using declarative discourse.