J. Hillis Miller (1928–2021) was one of the most prominent figures in literary criticism and theory. After receiving his Ph.D. from Harvard University, he taught at Johns Hopkins University, Yale University and the University of California at Irvine. He retired as Professor Emeritus in 2002. Miller was president of the Modern Language Association of America in 1986 and contributed significantly to professional academic institutions and organizations throughout his career. As an important representative of the Yale School, he (...) had close relationships with Derrida, Paul de Man, Geoffrey Hartman and Harold Bloom. Dr. Ning Yizhong did postdoctoral research under his supervision at UCI from 1997 to 1998. This is part of his interviews with Professor Miller during that time. In this interview, Miller talks about the Yale School in general, and Jacques Derrida, Paul de Man and Harold Bloom in particular. 1. (shrink)

A poem encrypts, though not predictably, the effects it may have when at some future moment, in another context, it happens to be read and inscribed in a new situation, in ‘an interpretation that transforms the very thing it interprets’, as Jacques Derrida puts it in Specters of Marx. In Wallace Stevens's ‘The Man on the Dump’ (1942), we are told: ‘The dump is full/Of images’. The poem's movement is itself a complex temporal to and fro that aims to repudiate (...) and even annihilate these images. This renunciation leaves the man on the dump ‘The Latest Freed Man’, as the title of another Stevens poem puts it. Like Walter Benjamin's Angel of History, he has his back toward history and has rejected its images in ‘disgust’ in order to face toward a future that will, he hopes, be purified of ideology. Yet Stevens knows that more such images will come and will need in their turn to be rejected and junked, in an endless task of purification. In a now impossibly outdated way, Stevens nevertheless wanted the poet – that is, himself, the man on the dump – to be the begetter of a new ideology, or a new fiction that would, in a powerful speech act, replace all those outworn images on the dump. In the context of potentially catastrophic climate change (as the result of something like a global auto-immune disorder), the second part of the essay complements this commentary on the poem with a free reading; a performative reading, reading as work or as oeuvre that does something with words, for which Jacques Derrida calls. This reading sees Stevens's text as somehow the proleptic foretelling of a present situation. Such future chiming is also, it is argued, a sign to sign relation, an anticipatory allegory or prophecy, or, perhaps, a miniature apocalypse in the etymological sense of an enigmatic unveiling of what has not yet happened. (shrink)

Derrida has been perennially concerned with hands and touching. This interest finds its most concentrated form in On Touching—Jean-Luc Nancy. This text outlines a number of concerns Derrida has in that book which might be extrapolated as exemplary of Derrida's reading strategies in general. It concludes with a consideration of what is revealed about the Derrida-Nancy relationship in this book.

At one point in "Rationality and Imagination in Cultural History" M.H. Abrams cites Wayne Booth's assertion that the "deconstructionist" reading of a given work "is plainly and simply parasitical" on "the obvious or univocal reading."1 The latter is Abrams' phrase, the former Booth's. My citation of a citation is an example of a kind of chain which it will be part of my intention here to interrogate. What happens when a critical essay extracts a "passage" and "cites" it? Is this (...) different from a citation, echo, or allusion within a poem? Is a citation an alien parasite within the body of its host, the main text, or is it the other way around, the interpretative text the parasite which surrounds and strangles the citation which is its host? The host feeds the parasite and makes its life possible, but at the same time is killed by it, as "criticism" is often said to kill "literature." Or can host and parasite live happily together, in the domicile of the same text, feeding each other or sharing the food? · 1. Critical Inquiry 2, no. 3 : 457-58. The first phrase is quoted from Wayne Booth, "M.H. Abrams: Historian as Critic, Critic as Pluralist," ibid., p. 441. J. Hillis Miller's contributions to Critical Inquiry are "Ariadne's Thread: Repetition and the Narrative Line" and "Theory and Practice: Response to Vincent Leitch". (shrink)

-/- For I have to remind you, somewhat bluntly and simply, that my most constant interest, coming even before my philosophical interest I should say, if this is possible, has been directed towards literature, towards that writing which is called literature. -/- What is literature? –Jacques Derrida, “The Time of a Thesis, Punctuations” -/- Literature is everywhere in Jacques Derrida's writing. It is there from one end to the other of his work, even in essays or books that superficially do (...) not seem to involve “literature.” If Derek Attridge had not already invented or borrowed the phrase “Acts of Literature” as the title for his fine anthology of Derrida's writings about literature I might have called this chapter “Derrida's Acts of Literature.” The phrase “acts of literature” is a double genitive, subjective and objective at once. It names acts performed by literature, and at the same time acts that create or comment on literature. In what sense can literature, or writing about literature, or writing literature, or reading literature be an “act”? That is one of my main questions here. -/- Derrida, along with all the other things he is (as this volume testifies), is one of the great literary critics of the twentieth century. (shrink)

Traditional Chinese philosophy, if engaged at all, is often regarded as an object of antiquated curiosity and dismissed as unimportant in the current age of globalization. Written by a team of internationally renowned scholars, this book, however, challenges this judgement and offers an in-depth study of pre-modern Chinese philosophy from an interdisciplinary perspective. Exploring the relevance of traditional Chinese philosophy for the global age, it takes a comparative approach, analysing ancient Chinese philosophy in its relation to Western ideas and contemporary (...) postmodernist theories. The conversation extends over a broad spectrum of philosophical areas and themes, ranging from metaphysics, hermeneutics, political theory, religion and aesthetics to specific philosophical schools including Confucianism, Daoism, and Buddhism. By engaging many time-honoured philosophical issues from a comparative perspective, this book bridges the gap between Eastern and Western thought and emphasises the need for a newly fortified global humanism and a deeper appreciation of different philosophical and religious values in an age gripped by large-scale crises. Arguing that traditional Chinese philosophy has immediate relevance to the many challenges of modern life, this book will be useful to students and scholars of Asian Philosophy and Asian Studies in general. (shrink)

The function of Nietzsche in our present intellectual life is a salient example of the continued vitality of the nineteenth-century in the thought of today. In Germany, in France, in Italy, and in the United States new work of editing and commentary has made Nietzsche a current force. The monumental Colli-Montinari edition, which includes many of Nietzsche’s hitherto unpublished notebooks and drafts, is the most conspicuous evidence of this on the textual side. This edition will make available in German, French, (...) Italian, and Japanese versions a far more complete and accurate Nietzsche than we have had. Mention should also be made of the new English translations by Walter Kaufmann. These have made good versions of most of Nietzsche’s books available to those with no German, though the Kaufmann translations are far less complete than the Colli-Montinari edition. On the side of commentary, the bibliography of new work on Nietzsche is enormous. Two collective volumes may be mentioned. They indicate at least a sketch map of this rugged terrain: The New Nietzsche: Contemporary Styles of Interpretation, edited and introduced by David D. Allison, and Nietzsche Aujourd’hui? The new work appropriates Nietzsche for present purposes. Ideas which may seem especially characteristic of the literature and philosophy of our own day are found to have been already worked out by Nietzsche in his own way. These would include linguistic, artistic, historical, social, and psychological concepts. Among these is Nietzsche’s systematic putting in question of the idea that the self is a substantial and integral entity. (shrink)

fusion theory challenges efforts to see theory as inhibiting by presenting an approach that is innovative, eclectic, and subtle in order to draw out competing and constellating ideas and opinions. This collected volume of essays examines fusion theory and demonstrates how the theory can be applied to the reading of various works of Indian English novelists.

This essay attempts to ‘read’ the first page of Jacques Derrida's Glas, while at the same time reporting as best I can what actually goes on when I make this effort of reading. I try to exemplify in detail my claim that what goes on in reading is much stranger and more complex that one might think. An intricate series of events took place when I first received Glas in the mail and opened it, reading first the single-sheet insert and (...) then looking at the cover, the title page, and, finally, the first page of the text proper. In my case, at least, in addition to trying to make sense of the words on the page, all sorts of somatic and affective responses were involved, as well as a constant unsuccessful attempt to create a coherent mental image based not only on the way the words are arranged on the page, but also on the bewildering complexity of what the words say. (shrink)

"Matters"! This is an odd word when used as a verb. Of course we know what it means. The verbal form of "matter" means "count for something," "have import," "have effects in the real world," "be worth taking seriously." Using the word as a noun, however, someone might speak of "literature matters," meaning the whole realm that involves literature. The Newsletter of the Maine Chapter of the Appalachian Mountain Club is called Wilderness Matters, punning on the word as a noun (...) and as a verb. We might say, analogously, "Literature Matters," as my title does. In medieval Europe learned people spoke of "the matter of Rome," "the matter of Arthur," "the matter of Greece," meaning the whole set of stories that lay behind .. (shrink)

The story of Ariadne has, as is the way with myths, its slightly asymmetrical echoes along both the narrative lines which converge in her marriage to Dionysus. Daedalus it was who told Ariadne how to save Theseus with the thread. Imprisoned by Minos in his own labyrinth, he escapes by flight, survives the fall of Icarus, and reaches Sicily safely. Daedalus is then discovered by Minos when he solves the puzzle posed publicly by Minos, with the offer of a reward (...) to the solver: How to run a thread through all the chambers and intricate windings of a complex seashell? Daedalus pierces the center of the shell, ties a thread to an ant, puts the ant in the pierced hole, and wins the prize when the ant emerges at the mouth of the shell. Thread and labyrinth, thread intricately crinkled to and fro as the retracing of the labyrinth which defeats the labyrinth but makes another intricate web at the same time—pattern is here superimposed on pattern, like the two homologous stories themselves. J. Hillis Miller is Gray Professor of Rhetoric and chairman of the department of English at Yale. He is the author of Charles Dickens: The World of His Novels, The Disappearance of God, Thomas Hardy: Distance and Desire, Fiction and Repetition, and a study of narrative terminology, called Ariadne's Thread, of which his essay in this issue of Critical Inquiry is a part. His contributions to Critical Inquiry are "The Critic as Host" and "Theory and Practice: Response to Vincent Leitch". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.3 (2001) 57-66 [Access article in PDF] Literary Study Among the Ruins J. Hillis Miller It must be remembered and squarely faced, though it is difficult to do so for a lover of literature like me, that in spite of the lip service paid these days to literature's authority by politicians, the media, and educationists, fewer and fewer people, in Europe and America at least, actually (...) spend much time reading "literature" in the old-fashioned sense of canonical works—Chaucer, Shakespeare, Milton, Pope, Wordsworth, George Eliot, Virginia Woolf, and the rest, in English literature. Literature has been granted enormous authority in our culture, but though that authority may still be tacitly or even explicitly acknowledged, for example by the media, no candid observer can doubt that it is no longer so pragmatically operative. If the books just stay there on the shelves, their authority is only potential. They must be read to be performatively effective. The joke about how George W. Bush's presidential library has been destroyed, both books in it, has an uncannily plausible ring. He has better things to do than read literature.If you are watching a movie or television or playing a computer game or surfing the Internet, you cannot at the same time be reading Shakespeare. People spend, all the statistical evidence suggests, more and more time doing the former. Poetry, it might be argued, does little legislating these days, unacknowledged or otherwise. Fewer and fewer people are decisively influenced by such reading as they do. Radio, television, cinema, popular music, and now the Internet—these are more decisive in shaping citizens' ethos and values, as well as in filling their minds and feelings with imaginary worlds. It is these virtual realities rather than strictly literary ones that have most performative efficacy these days to generate people's feelings, behavior, and value judgments. To speak of literature's authority is already to speak, to some degree, of an historical epoch that began in the late seventeenth or early eighteenth century in Europe with the rise of modern democracies and their concomitant print cultures. That epoch is now perhaps rapidly vanishing, whatever teachers of literature say, write, or do. Nevertheless, if someone happens for some reason to pick up Hamlet, or Middlemarch, or Yeats's poems, these works may still exert their magic power. Literature still has great authority over me and over no doubt many others. Just what effects are the globalization of the university and the new regime of telecommunications having on literary study and on the social role of literature itself?Jacques Derrida, in a striking passage written by one or another of the protagonists of La carte postale (The Post Card), says the following:... an entire epoch of so-called literature, if not all of it, cannot survive a certain technological regime of telecommunications (in this respect the political regime is secondary). Neither can philosophy, or psychoanalysis. Or love letters.... Refound here the American student with whom we had coffee last Saturday, the one who was looking for a thesis [End Page 57] subject (comparative literature), I suggested to her something on the telephone in the literature of the 20th century (and beyond), starting with, for example, the telephone lady in Proust or the figure of the American operator, and then asking the question of the effects of the most advanced telematics [la télématique la plus avancée] on whatever would still remain of literature. I spoke to her about microprocessors and computer terminals, she seemed somewhat disgusted [avait l'air un peu dégoutée]. She told me that she still loved literature (me too, I answered her, mais si, mais si). Curious to know what she understood by this. [Derrida, La carte postale 212, 219; Derrida Post Card 197, 204]What Derrida or rather his protagonist in La carte postale says in the citation I have made is truly frightening, at least to a lover of literature like me or like the protagonist's hapless interlocutor, the American graduate student in comparative literature who was looking for a dissertation topic... (shrink)

Leitch speaks of his procedure with my work as employing an "abrupt asyndetic format" and as being "a metonymic montage in which themes and citations are playfully and copiously combined." One form of this playfulness is the panoply of figures he uses to describe me and my criticism. The need to use figures for this is interesting, as is their incoherence, though the figures can be shown to fall into a rough antithetical pattern. At one moment the deconstructive critic is (...) a fairy godmother able to turn the pumpkin of the Western tradition into a phantasmal coach. He is a magician or wizard who shows that things are not what they have seemed with the great texts of our tradition or who turns them into something other than what they have seemed solidly to be, pragmatic pumpkins, unequivocally there. At the next moment the deconstructer is a disco dancer, moving sideways in the "lateral dance of interpretation" . The more or less benign fairy godmother and dancer then turns into a "nihilistic magician - who dances demonically upon the broken and scattered fragments of the Western tradition." He becomes a ferocious shaman, "Ravening, raging, and uprooting that he may come/Into the desolation of reality" . He is "a bull-deconstructer loose in the china shop of Western tradition" . In the next moment the bull metamorphoses into a lamb, as Leitch realizes the conservative aspects of deconstruction, the way it claims to be rescuing and preserving aspects of our culture which have always been there, both in literary and philosophical works and in the techniques of interpreting them. The same point is made more sharply and critically by William E. Cain in another recent essay on my work . In the final paragraph of his essay, Leitch has fun inventing permutations of an image of sand in the salad from one of my essays. Will deconstruction sandblast the whole shebang, or will the alien grain of sand turn into a pearl of price? J. Hillis Miller is Frederick W. Hilles Professor of English at Yale. His previous contributions to Critical Inquiry are "Ariadne's Thread: Repetition and the Narrative Line" and "The Critic as Host". (shrink)

This chapter contrasts Derrida's strategies of “deconstruction” with Paul de Man's. It shows how each characteristically puts an essay together to make it performatively effective. The author's primary concern is to understand better Derrida's rhetorical strategies in his essays by contrasting them with de Man's. He begins the comparison with a description of de Man's essay. Unlike de Man's essay, Derrida's “Faith and Knowledge” does not end in a climactic unforeseen concluding formulation. It just sort of stops, without by any (...) means having exhausted the energy of repetition with a difference, or “iterability,” that has generated section after section, followed by a short unnumbered coda in italics and parentheses. The author concludes that the juxtaposition of an essay by de Man and an essay by Derrida demonstrates their radical differences in rhetorical strategy. (shrink)

A woman's right to say no to a proposal of marriage, in defiance of her family and friends, was an essential feature of Victorian middle- and upper-class ideology, as it is represented in novels of the time. This right was based on the assumptions that falling in love is to some degree fortuitous, but that it is a permanent ontological change of selfhood. A good woman is justified in saying no even to an advantageous marriage proposal if she does not (...) love her suitor. Anthony Trollope's novels offer varied dramatizations of these assumptions, while Henry James's novels recount their incipient breakdown. (shrink)

This chapter addresses the question: Who or what decides? How, for Derrida, does a bona fide decision take place? Decision is analyzed in many places in Derrida's work, particularly in the late work. The chapter focuses “micrologically” on what seems to be Derrida's fullest and most elaborate expression of what he means by “decision.” This is an intricate sequence in “Force of Law”. It begins with an apparently peripheral subquestion. Can a decision be a catastrophe? If so, in what sense?

My topic is authenticity in or perhaps as painting, not the authenticity of paintings; I know next to nothing about the problem of verifying claims of authorship. I am interested in another kind of genuineness and fraudulence, the kind at issue when we say of a person that he or she is false, not genuine, inauthentic, lacks integrity, and, especially when we say he or she is playing to the crowd, playing for effect, or is a poseur. These are not (...) quite moral distinctions (no one has a duty to be authentic), but they are robustly normative appraisals, applicable even when such falseness is not a case of straight hypocrisy but of lack of self-knowledge or of self-deceit. (A person can be quite sincere and not realize the extent of her submission to the other’s expectations and demands.) This sort of appraisal also has a long history in post-Rousseauist reflections on the dangers of uniquely modern forms of social dependence, and they are prominent worries in the modern novel. (shrink)

This book demonstrates the presence of literature within speech act theory and the utility of speech act theory in reading literary works. Though the founding text of speech act theory, J. L. Austin's _How to Do Things with Words_, repeatedly expels literature from the domain of felicitous speech acts, literature is an indispensable presence within Austin's book. It contains many literary references but also uses as essential tools literary devices of its own: imaginary stories that serve as examples and imaginary (...) dialogues that forestall potential objections. _How to Do Things with Words_ is not the triumphant establishment of a fully elaborated theory of speech acts, but the story of a failure to do that, the story of what Austin calls a "bogging down." After an introductory chapter that explores Austin's book in detail, the two following chapters show how Jacques Derrida and Paul de Man in different ways challenge Austin's speech act theory generally and his expulsion of literature specifically. Derrida shows that literature cannot be expelled from speech acts—rather that what he calls "iterability" means that any speech act may be literature. De Man asserts that speech act theory involves a radical dissociation between the cognitive and positing dimensions of language, what Austin calls language's "constative" and "performative" aspects. Both Derrida and de Man elaborate new speech act theories that form the basis of new notions of responsible and effective politico-ethical decision and action. The fourth chapter explores the role of strong emotion in effective speech acts through a discussion of passages in Derrida, Wittgenstein, and Austin. The final chapter demonstrates, through close readings of three passages in Proust, the way speech act theory can be employed in an illuminating way in the accurate reading of literary works. (shrink)

Debates rage over what kind of literature we should read, what is good and bad literature, and whether in the global, digital age, literature even has a future. But what exactly is literature? Why should we read literature? How do we read literature? These are some of the important questions J. Hillis Miller answers in this beautifully written and passionate book. He begins by asking what literature is, arguing that the answer lies in literature's ability to create an (...) imaginary world simply with words. On Literature also asks the crucial question of why literature has such authority over us. Returning to Plato, Aristotle and the Bible, Miller argues we should continue to read literature because it is part of our basic human need to create imaginary worlds and to have stories. Above all, On Literature is a plea that we continue to read and care about literature. (shrink)