By Catherine Malabou, Jacques Derrida
Counterpath is a collaborative paintings via Catherine Malabou and Jacques Derrida that solutions to the gamble inherent within the thought of “travelling with” the thinker of deconstruction. Malabou's readerly textual content of quotations and statement demonstrates how Derrida's paintings, whereas showing to be something yet a travelogue, is however replete with references to geographical and topographical destinations, and capabilities as one of those counter-Odyssey via that means, theorizing, and thematizing notions of arrival, drifting, derivation, and disaster. in reality, by means of going directly to the center of the Derridean suggestion of “spacing,” she eventually makes it appear as if Derrida hasn't ever written approximately whatever yet go back and forth. Malabou's textual content is punctuated by way of a chain of postcards bought via Derrida from locations akin to Istanbul and Porto, Laguna seashore and Athens, that are encouraged by way of his studying of her evolving dialogue. Writing in a well-recognized and unguarded demeanour, as though he have been “on holiday” from his personal writing, Derrida nonetheless is still absolutely trustworthy to that paintings and invitations the reader to mirror on a lot of what haunts his texts in addition to his everyday life, questions of distance and loss of life, the relation to the opposite, and exile..
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Additional info for Counterpath: Traveling with Jacques Derrida
The Nambi kwara, who do not know how to write, are good, we are tol d . The Jesu its, the Protestant m i ssionaries, the American anth ropolo gists, the technicians on the telegraph l i ne who bel i eved they perceived vio l ence or h atred among the N ambi kwara are not o n l y m istaken, they h ave probably projected the i r own wickedness upon them. 6 . Epigenesis and Ethnocentrism The derivative schema put in place by Levi-Strauss (writing derives from speech, metaphoric sense derives from literal sense) is authorized by an epigenetist conception of writing, according to which the latter would be ca pable of suddenly appearing, being born all at once from spoken language.
No doubt he was the only one who had grasped the purpose of writing. So he asked me for a writing-pad, and when we both had one, and were work ing together, if I asked for information on a given point, he did not supply it verbally but drew wavy lines on his paper and presented them to me, as if I could read his reply. He was half taken in by his own make-believe; each time he completed a line, he examined it anxiously as if expecting the meaning to leap from the page, and the same look of disappointment came over his face.
What is between them takes place. Its place . � . � t 62 C HA P T E R 3 is the world, the world of today. But what does "today" signifY in such a case? When does today date from? Interrogating the sense of today's date is an enterprise that, in many respects, might seem absurd: today is ageless. But it remains that "agelessness" always has a today and in that sense it al lows itself to be dated. In what respect can our today be said to mark its date? " All the catastrophes that affect the world are produced in the imminence or the threat of the radical event that is atomic warfare.