Abstract

The central character of Denis Villeneuve's 2016 film Arrival, Dr. Louise Banks, is a linguist tasked with deciphering a logographic alien language in time to avert a seemingly impending global war. I argue that the alien heptapods' logographs exemplify the understanding of language advanced by Jacques Derrida in seminal texts such as Of Grammatology, while also engaging some of the themes concerning time and gift-giving that he develops in later, more explicitly political works. Derrida argues that written signifiers, rather than being a mere vehicle for representing speech, confer their own, supplemental meaning onto communication. Furthermore, he emphasizes that writing is not bound by the same linear temporality as spoken utterances, inasmuch as it is inscribed in a format which allows it to be revisited repeatedly. The significance of this disruption of linear temporality becomes clear in Derrida's later works such as Specters of Marx and On Cosmopolitanism, where he describes such disruption as a necessary condition for the type of political change he believes is needed in the world. The ability to experience time in a nonlinear fashion allows Banks to prevent the looming war, in an illustration of the connection that Derrida draws between time, violence, and politics. However, it also puts humanity in the heptapods' debt, thus exemplifying the paradox of genuine gift-giving that Derrida claims is impossible. Despite the complex ethical questions it invokes, however, the unique nature of the gift in Arrival signals that this gift might be a genuinely altruistic offering after all.