While the road trip provides Eurotrash’s basic framework, it is in fact autofiction that drives the narrative. The first-person narrator is named Christian Kracht, and he self-identifies as the author of Faserland. His deceased father’s name is also Christian Kracht, just like the father of the author, and numerous episodes from the real Christian Kracht’s biography populate the narrator Kracht’s memories. As one reads along, the author-narrator Kracht makes it all but impossible not to question whether certain memories are “real” or imagined, thereby imbuing the fictive narrative mode with the autobiographical and inviting a second, more critical layer of reading. This second-level reading raises particularly unsettling questions about the relationship at the heart of the novel. To what extent is narrator-Kracht’s mother based on author-Kracht’s mother, including experiences of sexual abuse she suffered as a child, as well as the addiction and narcissism that define her as an older adult? Or is she purely fictitious, set in the story merely to embody his own feelings of inadequacy as a son and a writer?