"More than fifteen years ago," Jacques Derrida writes in the
prologue to this remarkable and uniquely revealing book, "a phrase
came to me, as though in spite of me. . . . It imposed itself upon
me with the authority, so discreet and simple it was, of a
judgment: 'cinders there are' ("il y a la cendre"). . . . I had to
explain myself to it, respond to it--or for it."
In "Cinders" Derrida ranges across his work from the previous
twenty years and discerns a recurrent cluster of arguments and
images, all involving in one way or another ashes and cinders. For
Derrida, cinders or ashes--at once fragile and resilient--are "the
better paradigm for what I call the trace--something that erases
itself totally, radically, while presenting itself."
In a style that is both highly condensed and elliptical,
"Cinders" offers probing reflections on the relation of language to
truth, writing, the voice, and the complex connections between the
living and the dead. It also contains some of his most essential
elaborations of his thinking on the feminine and on the legacy of
the Holocaust (both a word--from the Greek "holos," "whole," and
"kaustos," "burnt"--and a historical event that invokes ashes) in
contemporary poetry and philosophy. In turning from the texts of
other philosophers to his own, "Cinders" enables readers to follow
the trajectory from Derrida's early work on the trace, the gramma,
and the voice to his later writings on life, death, time, and the
spectral.
Among the most accessible of this renowned philosopher's many
writings, "Cinders" is an evocative and haunting work of poetic
self-analysis that deepens our understanding of Derrida's critical
and philosophical vision.
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