A DERRIDA READER BETWEEN THE BLINDS Edited, with an introduction and notes, by Peggy Kamuf Columbia University Press New York Copyright acknowledgments continue at the back of the book. .) ; Columbia University Press New York Oxford Copyright © 1991 Columbia University Press All rights reserved ca~oein\-in-Publication Library of Congress Data Derrida, Tacques. [Selections. English. 1991j A Derrida reader : between the blinds I edited by Peggy Kamuf. p. cm. "With only one exception, all the excerpted translations have been previously published" - Pref. Includes bibliographical references and index. ISBN 0-231-06658-9 (cloth).-ISBN 0-231-06659-7 (paper) r. Philosophy. 2. Deconstruction. I. Kamuf, Peggy, 1947- . II. Title. B2430.D481D4713 1991 194-dc20 90-41354 CIP Casebound editions of Columbia University Press books are Smyth-sewn and printed on permanent and durable acid-free paper Book design by Tennifer Dossin Printed in the United States of America C IO 9 8 7 6 5 4 3 2 I Contents Preface vii Introduction: Reading Between the Blinds xiii Part One: Differance at the Origin 3 r. From Speech and Phenomena 6 2. From Of Grammatology 31 3. From "Differance" 59 4. "Signature Event Context" Bo 5. From "Plato's Pharmacy" II2 Part Two: Beside Philosophy-"Literature" 143 6. "Tympan" 146 7. From "The Double Session" 172 8. From "Psyche: Inventions of the Other" 200 9. "Che cos'e la poesia?" 22! Part Three: More Than One Language 241 ro. From "Des Tours de Babel" r r. From "Living On: Border Lines" 12. "Letter to a Japanese Friend" 13. From "Restitutions of the Truth in Pointing" vi Contents Part Four: Sexual Difference in Philosophy 313 14. From Glas 31 s 15. From Spurs: Nietzsche's Styles 353 16. "Geschlecht: Sexual Difference, Ontological Difference" 378 17. From "At This Very Moment in This Work Here I Am" 403 18. From "Choreographies" Part Five: Tele-Types (Yes, Yes) 459 19. From "Le Facteur de la verite" 463 20. From "Envois" 484 21. From "To Speculate-on 'Freud' 11 516 22. From "Ulysses Gramophone: Hear Say Yes in Joyce" 569 Bibliography of Works by Jacques Derrida 601 Selected Works on Jacques Derrida and Deconstruction 613 Index of Works by Jacques Derrida 617 Index 619 Preface In 1962, Jacques Derrida published a long critical introduction to his translation of Husserl's The Origin of Geometry. With that work he began what has proved to be one of the most stunning adventures of modem thought. It promised, from its first public acts, an explana tion with philosophical traditions unlike any other. That promise has since been realized in more than twenty-two books and count less other uncollected essays, prefaces, interviews, and public inter ventions of various sorts. Many of these have been translated, inte grally or in part, into English. And new texts are appearing regularly, as Derrida continues to write and to teach, in Europe and North America and indeed throughout the world. Today, it is with the word deconstruction that many first associ ate Derrida's name. This word has had a remarkable career. Having first appeared in several texts that Derrida published in the mid- 196os, it soon became the preferred designator for the distinct ap proach and concerns that set his thinking apart. Derrida has con fessed on several occasions that he has been somewhat surprised by the way this word came to be singled out, since he had initially proposed it in a chain with other words-for example, differance, spacing, trace-none of which can command the series or function as a master word. No doubt the success of deconstruction as a term can be explained in part by its resonance with structure which was then, in the 1960s, the reigning word of structuralism. Any history of how the word deconstruction entered a certain North American vocabulary, for instance, would have to underscore its critical use in the first text by Derrida to be translated in the United States, "Structure, Sign, viii Preface and Play in the Discourse of the Human Sciences." This was the text of a lecture delivered at Johns Hopkins University in 1966. In that lecture, he considered the structuralism of ethnologist Claude Levi-Strauss whose thought, as Derrida remarked, was then exerting a strong influence on the conjuncture of contemporary theoretical activities. The word de-construction occurs in the following passage concerned with the inevitable, even necessary ethnocentrism of any science formed according to the concepts of the European scientific tradition. And yet, Derrida insists, there are different ways of giving in to this necessity: But if no one can escape this necessity, and if no one is there fore responsible for giving in to it, however little he may do so, this does not mean that all the ways of giving in to it are of equal pertinence. The quality and fecundity of a discourse are perhaps measured by the critical rigor with which this relation to the history of metaphysics and to inherited concepts is thought. Here it is a question both of a critical relation to the language of the social sciences and a critical responsibility of the discourse itself. It is a question of explicitly and systemati cally posing the problem of the status of a discourse which borrows from a heritage the resources necessary for the de construction of that heritage itself. A problem of economy and strategy.* As used here, "de-construction" marks a distance (the space of a hyphen, later dropped! from the structuring or construction of dis courses, such as Levi-Strauss', that have uncritically taken over the legacy of Western metaphysics. If, however, it cannot be a matter of refusing this legacy-"no one can escape from it"-then the dis tance or difference in question is in the manner of assuming respon sibility for what cannot be avoided. Deconstruction is one name Derrida has given to this responsibility. It is not a refusal or a destruction of the terms of the legacy, but occurs through a re marking and redeployment of these very terms, that is, the concepts of philosophy. And this raises the problem, as Derrida puts it, ltof the status of a discourse which borrows from a heritage the resources necessary for the de-construction of that heritage itself." It is in the critical space of this problem, which needs to be thought through rigorously, systematically, and responsibly, that Derrida proposes to situate his discourse. •Writing and Difference [1967], p. 289. All quotations of Derrida's works are from published translations where available. For complete reference, consult the bibliography at the end of this volume by the date given in brackets (e.g., here 1967!. Preface ix Since its introduction, the work of Jacques Derrida has traced wide and diverse paths of influence both within and without the academic disciplines, wherever the relation to the heritage of West ern thought has become critical. Although this influence may have been felt first among literary theorists, it quickly overran the bound aries of literary studies or of any academic discipline. Theologians, architects, film makers and critics, painters, legal scholars, musi cians, dramatists, psychoanalysts, feminists, and other political and social theorists have all found indispensable support for their reflec tion and practice in Derrida's writing. Even philosophy in America, which began trying to purge itself of continental influences more than a century ago, has had to yield significant ground to Derrida's insistent questioning of the philosophical discipline. Thus, although one can still hear or read statements to the effect that Derridean deconstruction is the affair of a few North American literary critics, the odds are good that they are coming from a philosopher who is trying to ignore the obvious of what is going on all around him or her. Such discursive tactics of containment or denegation have flour ished in the vicinity of deconstruction, and not only among philoso phers. Both academic journals and the popular press have now and then bristled with indignation when confronted with the evidence that deconstruction is taking hold in the North American cultural landscape. But this is understandable; Derrida's work is disconcert ing and deliberately so. The present collection of essays and extracts will not conceal that fact. A reader who wants to approach this writing is therefore urged to proceed patiently, as well as carefully. Be advised that the most familiar may well begin to appear strangely different. As Derrida writes in one of the extracts from Of Gramma tology included here, his final intention is "to make enigmatic what one thinks one understands by the words 'proximity,' 'immediacy,' 'presence'," that is, the very words with which we designate what is closest to us. As to the choice and arrangement of texts, I have followed several principles and endeavored to make them compatible with each other. The easiest and most conventional of these is a very roughly chro nological ordering that can serve to illustrate some of the ways Derrida has reshaped his thought over the last twenty or so years. Between the earliest texts included here (extracts from Speech and Phenomena and Of Grammatology) and the most recent ones, how ever, there is also an undeniable constancy and coherence which belie any superficial impression that Derrida has revised or moved x Preface away from some former or initial way of thinking. Indeed, one of the more extraordinary things about Derrida's thought is the way it has shaped itself along a double axis or according to a double exigency: it seems always to be moving beyond itself and yet nothing is left behind. The first writings remaining implied in the succeeding ones, they are literally folded into different shapes and yet do not lose their own particular shape in the process. Nevertheless, because the work advances by bringing its past along, it is necessary up to a point to respect its chronology. No sooner, however, has one underscored the coherence of these writings than one must acknowledge as well their remarkable diver sity in subject, theme, form, tone, procedure, occasion, and so on. Here a second principle is called for, one that does not present itself so easily. The solution I have come to for grouping texts is, needless to say, only one of the many that could have been chosen to repre sent this diversity. As the reader will soon see, I have applied in effect no single principle but have grouped the sets of selections according each time to a different, loosely defined criterion. Numer ous other criteria suggested themselves as did so many other texts that had to be left out. What is more, almost all of the texts included here would fit in several of the categories. This is but one of many possible Derrida "readers." As to why there are so many extracts and so few complete essays, I decided, rightly or wrongly, that only this method permitted a tolerable, though still insufficient representation of the diversity and continuity of Derrida's work. I admit, however, that I hesitated long before adopting this procedure. Derrida's writings are intricately structured and perform a delicate balancing act between recalling where they have been and forewarning where they are going. The majority of them are deployed around extensive quotation of other works and they elaborate complex patterns of renvois, Most often the texts juxtapose and counter one style or tone with another, shifting, for example, between the strictest form of philosophical commentary and writing of a sort that such commentary has always by definition, excluded. Needless to say, much of this intricacy, balance, and counterplay has been sacrificed by the technique of cutting out excerpts of the texts. On the one hand, I have consoled myself for this loss with the thought that, with few exceptions, all of the works excerpted here are readily available in extenso, and thus no reader of A Derrida Reader need be content with shortened ver sions (see the appended bibliography which also lists some sugges tions for secondary reading). I made a mental note to remind readers Preface xi of this fact which is what I am doing now. On the other hand, I garnered a certain courage to excerpt so ruthlessly from Derrida's own repeated insistence on the partialness of any text, a partialness that is not recuperable in some eventual whole or totality. Moreover, the notions of cutting, grafting, piecing together-extracting-are everywhere in evidence in Derrida's texts, both as themes and as practices, until they are virtually coextensive with the text he is always interrogating and performing. Indeed, the masterful work Glas may be read as a long reflection on cutting, which is always culpable, put into practice. This is one reason I have placed a series of brief passages from that work in the spaces between the sections. These may be thought of as blinds or jalousies lowered into place as reminders: "Look at the holes, if you can"; read between the blinds. Ultimately, however, there is no final justification of this cutting and splicing. A desire was always obscurely in play (and desire is the very order of the unjustifiable) to offer up for another reading texts that I have returned to more than once out of love and respect, but also probably out of an unfathomable puzzlement. No doubt it is the utterly naive desire that, by presenting these texts to be read again, I will get back some signs of my own understanding. And that leads me to a final principle-or rather, less a principle than a wish that accompanied the editing of these pages. It is that this volume should engage each of its readers differently even as it made certain texts available to a broader general comprehension. I wanted it to be possible, in other words, for every reader to encoun ter both the same and a different book as all other readers, and for the same prepared trajectory to be nevertheless each time singular and unpredictable. How to reconcile these two aims? No answer presented itself in simple terms; instead, a reflection on that ques tion resulted in the essay "Reading Between the Blinds" which is given here in the guise of an introduction to the selected excerpts and essays. It may be read as the record of a negotiation, or exposi tion, between two versions of A Derrida Reader. With only one exception, all the excerpted translations have been previously published and are reproduced here most often with only minor changes, if any. It should be said that Derrida's writing ac tively resists translation by seeking out the most idiomatic points in the language, by reactivating lost meanings, by accumulating as far as possible the resources of undecidability which lie dormant in syntax, morphology, and semantics. The result can often seem ob scure to whoever has been taught that a standard of so-called clarity xii Preface of style is the first and indispensable criterion of expository prose. But Derrida never cultivates this "obscurity" for its own sake; on the contrary, the apparent density of his writing has its correlative in a relentless demand for clarity of another order, which may be called, in a seeming paradox, a clarity about the obscurity, opacity, and fundamental difference of language. Standard notions of clarity or "correct" style, when viewed from this perspective, must be seen as, themselves, obscurantist since they encourage a belief in the transparency of words to thoughts, and thus a "knowledge" con structed on this illusion. Deconstructing this knowledge will neces sarily be a matter of some difficulty.