Name: Specters of Marx
Author: Jacques Derrida

“If, there is a tendency in all Western democracies no longer to respect the professional politician or even the party member as such, it is no longer only because of some personal insufficiency, some fault, or some incompetence, or because of some scandal that can now be more widely known, amplified, and in fact often produced, if not premeditated by the power of the media. Rather, it is because politicians become more and more, or even solely characters in the media's representation at the very moment when the transformation of the public space, precisely by the media, causes them to lose the essential part of the power and even of the competence they were granted before by the structures of parliamentary representation, by the party apparatuses that were linked to it, and so forth. However competent they may personally be, professional politicians who conform to the old model tend today to become structurally incompetent. The same media power accuses, produces, and amplifies at the same time this incompetence of traditional politicians: on the one hand, it takes aways from them the legitimate power they held in the former political space (party, parliament, and so forth), but, on the other hand, it obliges them to become mere silhouettes, if not marionettes, on the stage of televisual rhetoric. They were thought to be actors of politics, they now often risk, as everyone knows, being no more than TV actors.”

Jacques Derrida book Specters of Marx

Wear and Tears (tableu of a ageless world)
Specters of Marx (1993)

“No differeance without alterity, no alterity without singularity, no singularity without here-now.”

Jacques Derrida book Specters of Marx

Injunctions of Marx, p,31
Specters of Marx (1993)

“The age is off its hinges. Everything, beginning with time, seems out of kilter, unjust, dis-adjusted. The world is going very badly, it wears as it grows”

Jacques Derrida book Specters of Marx

Wear and Tears (tableu of a ageless world)
Specters of Marx (1993)
Context: The time is out of joint. The world is going badly. It is worn but its wear no longer counts. Old age or youth-one no longer counts in that way. The world has more than one age. We lack the measure of the measure. We no longer realize the wear, we no longer take account of it as of a single age in the progress of history. Neither maturation, nor crisis, nor even agony. Something else. What is happening is happening to age itself, it strikes a blow at the teleological order of history. What is coming, in which the untimely appears, is happening to time but it does not happen in time. Contretemps. The time is out of joint. Theatrical speech, Hamlet's speech before the theater of the world, of history, and of politics. The age is off its hinges. Everything, beginning with time, seems out of kilter, unjust, dis-adjusted. The world is going very badly, it wears as it grows, as the Painter also says at the beginning of Timon of Athens (which is Marx's play, is it not). For, this time, it is a painter's speech, as if he were speaking of a spectacle or before a tableau: "How goes the world?-It wears, sir, as it grows.

“"There is no outside-text." It is usually mistranslated as "There is nothing outside the text" by his opponents to make it appear that Derrida is claiming nothing exists beyond language (see Searle–Derrida debate). In French, that mistranslated phrase would actually read "Il n'y a rien en dehors du texte."”

Jacques Derrida book Specters of Marx

il n'y a pas de hors-texte
"This question is therefore not only of Rousseau's writing but also of our reading. ...the writer writes in a language and in a logic whose proper system, laws, and life his discourse by definition cannot dominate absolutely. ...reading... cannot legitimately transgress the text toward something other than it... . There is nothing outside of the text [there is no outside-text; il n'y a pas de hors-texte]."
Specters of Marx (1993), 1960s

“How can one be late to the end of history? A question for today. It is serious because it obliges one to reflect again, as we have been doing since Hegel, on what happens and deserves the name of event, after history; it obliges one to wonder if the end of history is but the end of a certain concept of history.”

Jacques Derrida book Specters of Marx

Injunctions of Marx
Specters of Marx (1993)

“At the end of Being and Nothingness, … Being in-itself and Being for-itself were of Being; and this totality of beings, in which they were effected, itself was linked up to itself, relating and appearing to itself, by means of the essential project of human-reality. What was named in this way, in an allegedly neutral and undetermined way, was nothing other than the metaphysical unity of man and God, the relation of man to God, the project of becoming God as the project constituting human-reality. Atheism changes nothing in this fundamental structure.”

Jacques Derrida book Specters of Marx

"The Ends of Man," Margins of Philosophy, tr. w/ notes by Alan Bass. The University of Chicago Press. Chicago, 1982. (original French published in Paris, 1972, as Marges de la philosophie). p. 116
Specters of Marx (1993), 1970s

“It has no sense and cannot just unless it comes to terms with death. Mine as (well as) that of the other. Between life and death, then, this is indeed the place of a sententious injunction that always feigns to speak the just.”

Jacques Derrida book Specters of Marx

Exordium
Specters of Marx (1993)

“Amy Kofman: Have you read all the books in here?
Derrida: No, only four of them. But I read those very, very carefully.”

Jacques Derrida book Specters of Marx

Derrida (2003 documentary), referring to his personal library
Specters of Marx (1993), 2000s

“In order to try to remove what we are going to say from what risks happening, if we judge by the many signs, to Marx's work today, which is to say also to his injunction. What risks happening is that one will try to play Marx off against Marxism so as to neutralize, or at any rate muffle the political imperative in the untroubled exegesis of a classified work. One can sense a coming fashion or stylishness in this regard in the culture and more precisely in the university. And what is there to worry about here? Why fear what may also become a cushioning operation? This recent stereotype would be destined, whether one wishes it or not, to depoliticize profoundly the Marxist reference, to do its best, by putting on a tolerant face, to neutralize a potential force, first of all by enervating a corpus, by silencing in it the revolt [the return is acceptable provided that the revolt, which initially inspired uprising, indignation, insurrection, revolutionary momentum, does not come back]. People would be ready to accept the return of Marx or the return to Marx, on the condition that a silence is maintained about Marx's injunction not just to decipher but to act and to make the deciphering [the interpretation] into a transformation that "changes the world. In the name of an old concept of reading, such an ongoing neutralization would attempt to conjure away a danger: now that Marx is dead, and especially now that Marxism seems to be in rapid decomposition, some people seem to say, we are going to be able to concern ourselves with Marx without being bothered-by the Marxists and, why not, by Marx himself, that is, by a ghost that goes on speaking. We'll treat him calmly, objectively, without bias: according to the academic rules, in the University, in the library, in colloquia! We'll do it systematically, by respecting the norms of hermeneutical, philological, philosophical exegesis. If one listens closely, one already hears whispered: "Marx, you see, was despite everything a philosopher like any other; what is more [and one can say this now that so many Marxists have fallen silent], he was a great-philosopher who deserves to figure on the list of those works we assign for study and from which he has been banned for too long.29 He doesn't belong to the communists, to the Marxists, to the parties-, he ought to figure within our great canon of Western political philosophy. Return to Marx, let's finally read him as a great philosopher."”

Jacques Derrida book Specters of Marx

We have heard this and we will hear it again.
Injunctions of Marx
Specters of Marx (1993)

“Nevertheless. among all the temptations I will have to resist today. There would be the temptation of memory: to recount what was for me. and for those of my generation who shared it during a whole lifetime. The experience of Marxism. The quasi-paternal figure of Marx, the way it fought in us with other filiations, the reading of texts and the interpretation of a world in which the Marxist inheritance was-and still remains, and so it will remain-absolutely and thoroughly determinate. One need not be a Marxist or a communist in order to accept this obvious fact. We all live in a world, some would say a culture, that still bears, at an incalculable depth, the mark of this inheritance, whether in a directly visible fashion or not.”

Jacques Derrida book Specters of Marx

Injunctions of Marx
Specters of Marx (1993)

“To live, by definition, is not something one learns. Not from oneself, it is not learned from life, taught by life. Only from the other and by death. In any case from the other at the edge of life. At the internal border or the external border, it is a heterodidactics between life and death.”

Jacques Derrida book Specters of Marx

Exordium
Specters of Marx (1993)

“Oh. Marx's love for Shakespeare! It is well known. Chris Hani shared the same passion. I have just learned this and I like the idea. Even though Marx more often quotes Timon of Athens, the Manifesto seems to evoke or convoke, right from the start, the first coming of the silent ghost, the apparition of the spirit that does not answer, on those ramparts of Elsinore which is then the old Europe.”

Jacques Derrida book Specters of Marx

Injunctions of Marx
Specters of Marx (1993)

“No text in the tradition seems as lucid concerning the way in which the political is becoming worldwide. concerning the irreducibility of the technical and the media in the current of the most thinking thought-and this goes beyond the railroad and the newspapers of the time whose powers were analyzed in such an incomparable way in the Manifesto. And few texts have shed so much light on law. international law. and nationalism.”

Jacques Derrida book Specters of Marx

Injunctions of Marx
Specters of Marx (1993)

“The time is out of joint. The world is going badly. It is worn but its wear no longer counts. Old age or youth-one no longer counts in that way. The world has more than one age. We lack the measure of the measure. We no longer realize the wear, we no longer take account of it as of a single age in the progress of history. Neither maturation, nor crisis, nor even agony. Something else. What is happening is happening to age itself, it strikes a blow at the teleological order of history. What is coming, in which the untimely appears, is happening to time but it does not happen in time. Contretemps. The time is out of joint.”

Jacques Derrida book Specters of Marx

Wear and Tears (tableu of a ageless world)
Specters of Marx (1993)
Context: The time is out of joint. The world is going badly. It is worn but its wear no longer counts. Old age or youth-one no longer counts in that way. The world has more than one age. We lack the measure of the measure. We no longer realize the wear, we no longer take account of it as of a single age in the progress of history. Neither maturation, nor crisis, nor even agony. Something else. What is happening is happening to age itself, it strikes a blow at the teleological order of history. What is coming, in which the untimely appears, is happening to time but it does not happen in time. Contretemps. The time is out of joint. Theatrical speech, Hamlet's speech before the theater of the world, of history, and of politics. The age is off its hinges. Everything, beginning with time, seems out of kilter, unjust, dis-adjusted. The world is going very badly, it wears as it grows, as the Painter also says at the beginning of Timon of Athens (which is Marx's play, is it not). For, this time, it is a painter's speech, as if he were speaking of a spectacle or before a tableau: "How goes the world?-It wears, sir, as it grows.