If Walter Benjamin (with an irony that belies his seemingly tragic life) is now recognized as one of the century’s most important writers, reading him is no easy matter. Benjamin opens one of his most notable essays, The Task of the Translator , with the words No poem is intended for the reader, no image for the beholder, no symphony for the listener . How does one read an author who tells us that writing does not communicate very much to the reader? How does one learn to regard what comes to us from Benjamin as something other than direct expression? Carol Jacobs’ In the Language of Walter Benjamin is an attempt to come to terms with this predicament. It does so by teasing out such guidelines for criticism as Benjamin seems to offer in The Origin of German Tragic Drama. Jacobs reminds us of Benjamin’s distinction between truth and knowledge. She above all insists on his method of philosophical contemplation as performance, on a performance that demands precise immersion in the minute details of subject matter.