ABSTRACT While the concept of “infinite distance” (ID) appears as such only in the work of Maurice Blanchot, in this paper we argue that it could be productively coined in Walter Benjamin’s as well. We argue that (1) the concept of ID is elaborated from a revision, a re-signification, and a radicalization of the modern concept of “aesthetic distance”, and that (2) this modification is fundamentally based on the interpretations that both, Benjamin and Blanchot, make first of early German Romanticism, (...) and second of the work of Franz Kafka. This modification, we contend, (3) contains a shift in the ground of the concept: the concept of ID has no longer as ground the realm of the subjective faculties (i.e., the ‘judgment of taste’), but the realm of art and language. Finally, we show (4) that the concept of ID presupposes the existence of a ‘fragmentary impulse’ within literary works that can be understood as a “limit-experience” for the subjectivity. (shrink)