By Jacques Derrida
Acts of Literature, compiled in shut organization with Jacques Derrida, brings jointly for the 1st time a few Derrida's writings on literary texts. The essays speak about literary figures reminiscent of Rousseau, Mallarmé, Joyce, Shakespeare, and Kafka, and contain items spanning Derrida's profession. the gathering now incorporates a giant interview with him on questions of literature, deconstruction, politics, feminism and historical past, and Derek Attridge offers an introductory essay on deconstruction and the query of literature, with feedback for additional analyzing. those essays research where and operation of literature in Western tradition, and are hugely unique responses to person literary texts. They spotlight Derrida's curiosity in literature as an important cultural establishment and as a mainly difficult kind of writing, with inescapable outcomes for our puzzling over philosophy, politics and ethics.
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When I found myself, with students, reading some Beckett texts, I would take three lines, I would spend two hours on them, then I would give up because it would not have been possible, or honest, or even interesting, to extract a few "significant" lines from a Beckett text. The composition, the rhetoric, the construction and the rhythm of his works, even the ones that seem the most "decomposed," that's what "remains" finally the most "interesting," that's the work, that's the signature, this remainder which remains when the thematics is exhausted (and also exhausted, by others, for a long time now, in other modes).
How could I write, sign, countersign performatively texts which "respond" to Beckett? How could I avoid the platitude of a supposed academic metalanguage? It is very hard. You will perhaps say to me that for other foreign authors like Kafka, Celan, or Joyce, 1 attempted it. Yes, at least attempted. Let's not speak of the result. 1 had a kind of excuse or alibi: I write in French, from time to time I quote metaphysics (the final fulfillment of metaphysics, lieidegger would say) and then, already, beyond.
Even if history of contretemps, of history as contretemps, of these laws which Romeo and Juliet's historical context, even if its "external" borders or its internal social landscape are not greatly exceed the case of altogether the ones in which I read it, the play can be read nowadays. on the structure of the name and the iterable mark. No one is obliged We have available contextual elements of great stability (not natural, to be interested in what interests me. But if that did come about, then universal and immutable but fairly stable, and thus also destabilizable) we would have to ask what is happening, on what conditions, etc.