The book takes as its starting point a discovery by the artist R. H. Quaytman, who, upon closer examination of Paul Klee's drawing "Angelus Novus" from 1920, realised that Klee had laminated the picture onto a 19th century copperplate engraving, which is barely visible, so that it was overlooked for decades by its owners - Walter Benjamin, Theodor W. Adorno and Gershom Scholem. Annie Bourneuf explores the question of why this sheet, not entirely concealed by Klee, is important, and which artistic, political and theological constellations intertwine in this picture owned by Walter Benjamin to arrive at a completely new interpretation of the famous work.