How to understand the literary work dedicated to childhood images, written by Walter Benjamin, especially if he states this work as a process of inoculation (Verfarhen der Impfung) in the Preface of Berlin Childhood around 1900? This thesis wishes to comprehend and present this inoculation. For such, we follow traces which link childhood images to nostalgia, once the inoculation results from such link. Benjamin said he had prepared to the exile, while he had already exiled. So, what had he meant effectively when he wrote those words? He meant he turned his home out, Berlin, but also he turned out from the permanent feeling of lost, generated for the irreversibility of time. Once besieged between two world wars, Berlin Childhood had been written against of an historical experience which results were predictable in international horizon, thanks other concept of experience (Erfahrung) in which Benjamin had reflected about since his youngness. Experience would be shaped by transmissibility of human language, and we must to have in mind a kind of lost of experience: insulation, forgiveness, muteness and death. In such way, the work seeks to build collectiveness through narrative images aroused in the memory of readers. So, we ought to comprehend the process of excavation started by Benjamin to find buried and lost objects which deals with the borders of life. For such, we present three chapters: the first, on the relations between memory and philosophy of history; the second, on the modern conception of nostalgia and that, showed by Benjamin; and the last, on the process of excavation and childhood by Benjamin. For him, the past is an ertswhile which we go in its direction when we found the cognoscibility of its traces in a now. These traces may be fragments, ruins and images, let for a short-lived experience. In such case, what kind of nostalgia would we fell? We ought answer with two kinds of nostalgia: one which appeals to the speech and art activity and other inoperative, until harmful. As the limit expression of human insulation, the exile enforced a life positioning. We analyze how Adorno, Benjamin and Brecht answered to that. In the end, we developed different approaches on Benjamin reading of childhood: since his analysis of pedagogical books to the creation of a program to the proletarian childish theater, passing by radio transmissions written and broadcast by him, as such childhood images. In Berlin Childhood, Benjamin operates the most mysterious human capacity which is to transform images in stories and stories in images. Changing mute livings in broadcastable experiences, he showed for us a becoming art of nostalgia.