This dissertation proposes a dialogue between the works from the critic and philosopher Walter Benjamin and the dramatist and romancist Samuel Beckett. The two Twentieth-century writers, although have been contemporaries during some years and afflicted by common issues, didn t have the chance to comment anything one about the other. Maybe this could be explained giving the fact that, in search for flee from the Nazi regime, without a visa to cross the border from France to Spain, Benjamin commited suicide in 1940, while Beckett was still starting his literary production. Otherwise, possibly the German critic would have thought about the work of the Irish author, given so many affinities between them. To make these apparent, this thesis is divided in three chapters: The first investigates, according to Benjamin s theory, the decline of the traditional narratives passed orally between generations and the ascension of other ways of communication made possible by writing, as the press and, especially, the novel within the literature. The second chapter seeks to explain the difference between the involuntary silence, as a trauma, of the First World War combatants, diagnosed by Benjamin, and the deliberate and performative gesture of silencing with which Beckett pursue make the language porous. The third chapter proposes approximations between the fragmentary body of the essayistic writing, adopted by Benjamin, and the way Beckett elevates the incompleteness of ruin to the bodies of his characters, who face de decadence not only of their limbs, but also of their memories and, more radically, of their own identity.