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Paul Rudd Narrator. Ira Glass Editor ,. Mark Bowden ,. Bill Buford ,. Malcolm Gladwell. Lemony Snicket Goodreads Author ,.
Seth Illustrations ,. Jon Scieszka Narrator ,. Terry Gross Narrator. Chris Ware Editor ,. Dave Eggers Editor ,. Lawrence Weschler ,.
Sean Wilsey. Andrew Blauner Editor ,. Mark Boyett Narrator ,. Jackson Narrator ,. Khristine Hvam Narrator. Richard Ross ,.
Ira Glass contributor ,. Bart Lubow contributor. Chris Ware ,. Ira Glass Contributor. Jessica Abel Goodreads Author ,. Denis Wood Goodreads Author ,.
Ira Glass Introduction. Debbie Millman Contributor ,. Barbara Kingsolver Contributor ,. The left column is about Hegel, the right column is about Genet.
Each column weaves its way around quotations of all kinds, both from the works discussed and from dictionaries—Derrida's "side notes",  described as "marginalia, supplementary comments, lengthy quotations, and dictionary definitions.
A Dutch commentator, recalling Derrida's observation that he wrote with two hands, the one commenting on the other, noted that the two-column format aims to open a space for what the individual texts excluded, in an auto-deconstructive mode.
Allan Megill described the text as a "literary-philosophical collage. Gayatri Chakravorty Spivak , in a article published in Diacritics , interprets the columns as the legs of a woman, and Derrida's marginal notes as a male member in the act of penetration: "As the father's phallus works in the mother's hymen, between two legs, so Glas works at origins, between two columns, between Hegel and Genet.
According to Gayatri Spivak, the two columns should be seen as architectural elements: "capital, pyramid, pillar, belfry and so on.
This fight for space is reminiscent of an adolescent rebellion against a looming father figure, Hegel, and Derrida notes that his own father died while he was writing Glas.
This rebellion against his inheritance also evident from the way in which he creates confusion by juxtaposing his initial, "D," to distracting red herrings: "The debris of d-words is scattered all over the pages.
The specific literary genre problematized in Glas is autobiography, and its inquiry traces the very concept of the signature, which in autobiography marks the identity of the author with the narrator of the text.
Following Plato, Derrida sees the relation between author and text as one of filiation, but unlike Plato's idea of filiation, which involves only the father and the child, for Derrida author alternates between the father and the mother of the text.
In this relationship, the author's signature becomes the guarantor of the text's truth, "it becomes its surrogate parent," according to Jane Marie Todd.
The Genet column discusses his autobiographical writings, where one of the issues is Genet's very name—it is not that of his father, but of his mother, who abandoned him shortly after birth.
Glas is described as experimental and obscure. According to Jane Marie Todd, Glas is a study of literary genre , and its seeming defiance of genre "allows this curious and challenging text [to offer] a direct contribution to literary theory: in both form and subject matter, it details a new way of viewing genre definitions.
It is clear that his reading of Joyce's text haunts the way in which Derrida has constructed his exploration of Hegel and Genet by positioning separate and discrete textual columns next to each other so that it is necessary to read intertextually and follow the ways in which the textual play operates across and between the margins or borders of the page s and space s separating the columns.
John Sturrock, reviewing the English translation of Glas for The New York Times , commented that "as a piece of writing it has no known genre".
In his estimation reading the book is "a scandalously random experience" given the problem of how to read the two printed columns—consecutively or alternately from section to section.
Though it is an "exuberantly clever, punning text", it "asks too much of one's patience and intelligence; our defense against a text declaring itself to be unreadable may be to call its author's bluff and simply leave it unread.
Leavey Jr. Compellingly, Glas has often been cited as evidence that deconstruction might theorize hypertext or that hypertext might instantiate deconstruction.
Hillis Miller associated it with "the new multi-linear multimedia hypertext that is rapidly becoming the characteristic mode of expression both in culture and in the study of cultural forms".
Whereas Mark Taylor argues that "deconstruction theorizes writerly practices that anticipate hypertexts", Geoffrey Bennington advises that if writing had a privileged empirical form for Derrida, it would be the computer—yet on the other hand, "hypertexts can just as well be presented as a fulfillment of a metaphysical view of writing".
Gregory Ulmer argues that Derrida's writings "already reflect an internalization of the electronic media", and Mark Poster holds that "computer writing instantiates the play that deconstruction raises only as a corrective".
Both books are the product of radical textual montage, using elaborate cut-and-paste strategies that caused problems in getting into print; both were reissued in the s and hailed as influential for an entire generation: "Both were vigorously misrepresented by acolytes and detractors and unfairly associated with exclusively text-based approaches to contemporary media.
Luc Ferry and Alain Renaut referred to Glas as the "quintessence of the discourse of the 'sixties", though Ned Lukacher notes that this amounts to "a glib dismissal of Derrida's masterpiece" by restricting its scope and enclosing it as a naive text whose erasure is willed by the writing subject, whereas Lukacher maintains that "Derrida never contests that there is always a subject that decides; his point is rather that the decision never took place on the grounds the subject thought it did and that the decision has effects that the subject cannot account for.
From Wikipedia, the free encyclopedia. Glas Cover of the first edition. A student recalls fondly his bourgeois ways".