"Cultural Graphology" could be the name of a new human science:
this was Derrida's speculation when, in the late 1960s, he imagined
a discipline that combined psychoanalysis, deconstruction, and a
commitment to the topic of writing. He never undertook the project
himself, but he did leave two brief sketches of how he thought
cultural graphology might proceed. In this book, Juliet Fleming
picks up where Derrida left off. Using his early thought and the
psychoanalytic texts to which it is addressed to examine the print
culture of early modern England, she drastically unsettles our
knowledge of the key vehicle of modern writing: the book. Fleming
shows that the single most important lesson to survive from
Derrida's early work is that we do not know what writing is.
Channeling Derrida's thought into places it has not been seen
before, she takes on topics such as errors, spaces, and print
ornaments that have hitherto been marginal to our accounts of print
culture and excavates the long-forgotten reading practice of
cutting printed books. Proposing radical deformations to the
meanings of fundamental and apparently simple terms such as
"error," "letter," "surface," and "cut," Fleming opens up exciting
new pathways into our understanding of the book as a material and
cultural object.
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