This book traces the uses and evocations that Benjamin makes of the notion of destruction, trying to show why this notion composes a matrix of reading of history and of the work of art, but also of the very life of man as a configured form. This matrix is ​​that of the "critical instant," that of the "dialectical image," that of "immaterial likeness," that of "character," or "lightning," all names for the brief glimpse of a living force on the net bitter fate and the continuum. Who has a life, has a destiny, but at the same time you do not have a destiny without being trapped in the plexus of guilt of everything alive. Joining the earlier works of Benjamin with those who later devoted to the theories of fascism and the work of art in the time of its technical reproducibility, Galende seeks for this very thing to compose here a small landscape in which life as a configuration of the law finds its continuation in the aesthetic like device in the service of the seclusion of the man. This seclusion is the way of life but also the concept of man, a colorless vault in which destruction breaks out in an uncertain and perhaps unpronounceable way.