"Simon Glendinning explores both the difficulty and significance of the work of Derrida, arguing that his challenging ideas make a significant contribution to philosophy."--P. [2] of cover.

In 1966, Jacques Derrida gave a lecture at Johns Hopkins University that cast the entire history of Western Philosophy into doubt. The following year, Derrida published three brilliant but mystifying books that convinced the pollsters that he was the most important philosopher of the late 20th Century. Unfortunately, nobody was sure whether the intellectual movement that he spawned – Deconstruction – advanced philosophy or murdered it. The truth? – Derrida is one of those annoying geniuses you can take a class on, read half-a-dozen books by and still have no idea what he’s talking about. Derrida’s ‘writing’ – confusing doesn’t begin to describe it (it’s like he’s pulling the rug out from under the rug that he pulled out from under philosophy.) But beneath the confusion, like the heartbeat of a bird in your hand, you can feel Derrida’s electric genius. It draws you to it; you want to understand it... but it’s so confusing. What you need, Ducky, is Derrida For Beginners by James Powell! Jim Powell’s Derrida For Beginners is the clearest explanation of Derrida and deconstruction presently available in our solar system. Powell guides us through blindingly obscure texts like Of Grammatology (Derrida’s deconstruction of Saussure, Lévi Strauss, and Rousseau), “Différance” (his essay on language and life), Dissemination (his dismantling of Plato, his rap on Mallarmé), and Derrida’s other masterpieces (the mere titles can make strong men tremble in terror – Glas, Signéponge/Signsponge, The Post Card, and Specters of Marx.) Readers will learn the coolest Derridian buzzwords (e.g., intertextuality, binary oppositions, hymen, sous rature, arche-writing, phallogocentrism), the high-and-low lights of deconstruction’s history (including the DeMan controvercy), and the various criticisms of Derrida and deconstruction, including Camille Paglia’s objection that America, the rock-n-roll nation, isn’t formal enough to need deconstruction. The master, however, begs to disagree: “America is Deconstruction” -Jacques Derrida

First published in 1967, Writing and Difference, a collection of Jacques Derrida's essays written between 1959 and 1966, has become a landmark of contemporary French thought. In it we find Derrida at work on his systematic deconstruction of Western metaphysics. The book's first half, which includes the celebrated essay on Descartes and Foucault, shows the development of Derrida's method of deconstruction. In these essays, Derrida demonstrates the traditional nature of some purportedly nontraditional currents of modern thought—one of his main targets being the way in which "structuralism" unwittingly repeats metaphysical concepts in its use of linguistic models. The second half of the book contains some of Derrida's most compelling analyses of why and how metaphysical thinking must exclude writing from its conception of language, finally showing metaphysics to be constituted by this exclusion. These essays on Artaud, Freud, Bataille, Hegel, and Lévi-Strauss have served as introductions to Derrida's notions of writing and différence—the untranslatable formulation of a nonmetaphysical "concept" that does not exclude writing—for almost a generation of students of literature, philosophy, and psychoanalysis. Writing and Difference reveals the unacknowledged program that makes thought itself possible. In analyzing the contradictions inherent in this program, Derrida foes on to develop new ways of thinking, reading, and writing,—new ways based on the most complete and rigorous understanding of the old ways. Scholars and students from all disciplines will find Writing and Difference an excellent introduction to perhaps the most challenging of contemporary French thinkers—challenging because Derrida questions thought as we know it.

Philosopher, film star, father of “post truth”—the real story of Jacques Derrida Who is Jacques Derrida? For some, he is the originator of a relativist philosophy responsible for the contemporary crisis of truth. For the far right, he is one of the architects of Cultural Marxism. To his academic critics, he reduced French philosophy to “little more than an object of ridicule.” For his fans, he is an intellectual rock star who ranged across literature, politics, and linguistics. In An Event, Perhaps, Peter Salmon presents this misunderstood and misappropriated figure as a deeply humane and urgent thinker for our times. Born in Algiers, the young Jackie was always an outsider. Despite his best efforts, he found it difficult to establish himself among the Paris intellectual milieu of the 1960s. However, in 1967, he changed the whole course of philosophy: outlining the central concepts of deconstruction. Immediately, his reputation as a complex and confounding thinker was established. Feted by some, abhorred by others, Derrida had an exhaustive breadth of interests but, as Salmon shows, was moved by a profound desire to understand how we engage with each other. It is a theme explored through Derrida’s intimate relationships with writers such as Althusser, Genet, Lacan, Foucault, Cixous, and Kristeva. Accessible, provocative and beautifully written, An Event, Perhaps will introduce a new readership to the life and work of a philosopher whose influence over the way we think will continue long into the twenty-first century.

This is an important new introduction to Derrida, offering a brand new reading of his key works through an examination of his relationship with Plato and Aristotle.

A collection of three interviews granted by Derrida that serve to clarify his thought and writing.

Interpretations of Plato, Stéphane Mallarmé, and Philippe Sollers’ writings in three essays: “Plato’s Pharmacy,” “The Double Session,” and “Dissemination.” “The English version of Dissemination [is] an able translation by Barbara Johnson . . . Derrida’s central contention is that language is haunted by dispersal, absence, loss, the risk of unmeaning, a risk which is starkly embodied in all writing. The distinction between philosophy and literature therefore becomes of secondary importance. Philosophy vainly attempts to control the irrecoverable dissemination of its own meaning, it strives—against the grain of language—to offer a sober revelation of truth. Literature—on the other hand—flaunts its own meretriciousness, abandons itself to the Dionysiac play of language. In Dissemination—more than any previous work—Derrida joins in the revelry, weaving a complex pattern of puns, verbal echoes and allusions, intended to ‘deconstruct’ both the pretension of criticism to tell the truth about literature, and the pretension of philosophy to the literature of truth.” —Peter Dews, The New Statesman