Jacques Derrida returns relentlessly to the question of literature which is already a prominent concern in early texts such as Writing and Difference. The focus of this article is the conception of literature in ‘Literature in Secret: An Impossible Filiation’, in which Derrida discusses filiation with reference to Abraham and Isaac, the fundamental necessity of secrecy and the notion of the pardon. Above all, it is Kafka's Letter to His Father which perhaps provides a paradigm for defining literature. In this (...) specular address, the promise of a heritage is in the balance. Writing incessantly on Kafka, Maurice Blanchot also reflects on literature. The notion of literature put forward by Derrida in ‘Literature in Secret: An Impossible Filiation’ is considered in this article, as well as reflections by Blanchot, to show what might be at stake in Kafka's Letter to His Father. (shrink)

At the beginning of Derrida's ‘Before the Law’, a reading of Kafka's story with that title, is an epigraph from Montaigne's Essays: ‘… science does likewise (and even our law, it is said, has legitimate fictions on which it bases the truth of its justice)…’. Derrida again refers to this quotation in ‘Force of Law’, asking what a ‘legitimate fiction’ might be and what it would mean to establish the basis for the truth of justice. With reference to these writings (...) on the status of narrative and the law, as well as to other texts by Derrida, this paper examines the story of the judge-penitent in Camus' The Fall and, in particular, this ironic reading of the aporetic experience of standing ‘before the law’. What does the narrative, The Fall, entail? Camus writes that the man who speaks in this text is involved in a ‘calculated confession’. How are the borders between truth and fiction, justice and the law, negotiated in this reckoning ‘before the law’? (shrink)

Writing and that which it entails are the subject of countless texts by Maurice Blanchot. In particular, Blanchot has focused on the notion of the work, or more precisely on a groundlessness or an absence of the work, which he has designated from different perspectives over the course of more than half a century. In various ways, Blanchot has conceived of the work as an affirmation of its undoing. The question of narration, often about a confrontation with death, is fundamentally (...) important, as is evident for example in Blanchot’s Death Sentence, The Madness of the Day or The Instant of My Death. In a sense, it is bound up with the possibility of the work. Writing about Henry James in “The Turn of the Screw” 2 in The Book to Come, Blanchot discusses narration. What is described is indeed a certain absence of the work relating to the writer’s difficult struggle to narrate everything. I will examine Blanchot’s reading of James to expose this conception of narration centred on seizing the truth. It is apparent that Blanchot approaches the question very differently in “Narrative Voice ,” in The Infinite Conversation in which there is a decentring of the work. 3 I will show that this text as well as certain writings by Derrida make it possible to arrive at a conception of narration in Henry James’s The Turn of the Screw which strongly contrasts with the one put forward by Blanchot in The Book to Come. Thus, alongside Blanchot’s reading of The Turn of the Screw which relates to the project of realising the work as a totality, Blanchot makes possible a more radical approach to the text, illustrating the non-totalization of the work whose borders are uncertain. In this way, Blanchot can be shown to step beyond an impossible conception of the absence of the work. (shrink)