A radical critique of Western philosophy, a disorientating reading of familiar texts, a stunning verbal agility, not to mention a disconcerting tendency to ‘deconstruct’ his critics – all this already adds up to a formidable and subversive intellectual enterprise. But Derrida does not make things easy for his readers. His elliptical and convoluted style is quite deliberate. Refusing to make clearcut distinctions between the philosophical and literary uses of language, and contesting the view that any such thing as an ‘objective’ account or summary of a philosophical text is possible, he embodies this theoretical position in texts that forbid consoling illusions of simplicity.
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'The coronavirus pandemic has blocked access to the Vatican archives, postponing – only temporarily, we all hope – any potential epiphanies relating to the clergy’s dark trade in Nazi war criminals. In the interim, we have Philippe Sands’s "The Ratline".'