This guy won a Nobel?

In the third part of Imre Kertesz's short novel Liquidation we change narrative voices once again; it takes a few pages to figure it out but at this point the narrator is the late author B's ex-wife, Judit, who is speaking to her current husband, telling him about the beginning of her relationship with B. (it's very confusing because we don't know for a while if she's talking about that relationship or her affair with the book editor, Kingbitter, seeking the lost B manuscript - or in fact if the narrator is the other book editor who'd been having an affair with B - and does it really matter? isn't this - the obscurity and indifference to distinctions among characters and voices - part of Kertesz's nihilistic stance?). What we learn - surprise surprise - is that yes in fact B. did leave behind a novel manuscript (exactly how Kingbitter knows this is never explained) and he also left Judit instructions to destroy it, which she did. Her husband, jealous about her still-strong feelings for B. and somewhat betrayed in that she'd still been seeing B., though apparently not having an affair, also feels mildly angry that she would destroy a work of art. And that's pretty much it. So what is the point? Why did B. want her to destroy it and why is Kertesz writing a novel about a novel that no one will ever read? As Judit "explains" it, the B wanted the novel destroyed because no novel can convey the horror of Aushwitz (where he was born - though it's not clear that he was writing about Auschwitz), that the true expression of these horrors is in life, not in art. That to me is a total absurdity - and we all know that Adorno remarked that after Auschwitz, the idea of writing a poem is obscene. That's one of the provocative statements not meant literally: it will never be obscene to write a poem, as poetry, fiction, art help us understand consciousness, behavior, feelings, beliefs, perceptions, they help us see and comprehend the world from the point of view of others, they deepen our understanding of ourselves, I could go on - but, yes, a poem will neither abate nor prevent a horror or tragedy, personal or global. What we have in Liquidation is one of those European mind-games, a novel "about" the Holocaust (or about a Holocaust survivor) that espouses the idea that art about the Holocaust is impossible; the novel therefore has a built-in defense against its own deficiency - Kertesz's failure to create distinct characters, his indifference to developing a plot with any but the most listless action, his banal philosophy. This guy won a Nobel? Not on the basis of this novel.