In September of 1940, a group of nearly 2000 Jews from across Eastern Europe were rounded up by German authorities, put aboard ship transports, one from Bratislava, the other Vienna, and began a journey down the Danube that would end up taking them across the Indian Ocean. After much diplomatic scrambling the British Government arranged to have the group detained on the island of Mauritius, then still a British colony. This group of now-stateless refugees would be detained for the entire duration of WWII, leaving an impact on the island and its people, as well as the South African Jewish community; however, it is an impact that has remained largely unexplored. In this article, I want to look at a few of the sparse sources relating this history: some artworks produced by two of the detainees, as well as a contemporary novel written by Indo-Mauritian author Nathacha Appanah, entitled Le dernier frère or The Last Brother. I want to suggest that in Appanah’s 2007 novel, the author imagines the space of the island as intricately entangled with the narrative of Jewish displacement there. In The Last Brother, the island itself and its geographies are places of entanglement, and articulate a version of Michael Rothberg’s “multi-directional memory.” In doing do, Mauritius gives space for thinking about the role of imperial and colonial geo-politics in the making of a what would become perhaps the defining political subjectivity of the twentieth century, the stateless refugee. Reading Mauritius as host to a Southern Hemisphere experience of the Holocaust, offers possible ways to see how both the rise of Nazi Europe, but also the geo-political tectonics of the dissolution of European empires and the creation of postcolonial nations across the globe were entangled in a related set of motions surrounding Europe’s expulsion of its Jewish population.