Certainly, Derrida’s style is not traditional. In the same speech from 1980 at the time of him being awarded a doctorate, Derrida tells us that, in the Seventies, he devoted himself to developing a style of writing. The most clearest example is his 1974 Glas (“Death Knell” would be an approximate English translation; the current English translation simply uses the word “glas”); here Derrida writes in two columns, with the left devoted to a reading of Hegel and the right devoted to a reading of the French novelist-playwright Jean Genet. Another example would be his 1980 Postcard from Socrates to Freud and Beyond; the opening two hundred pages of this book consist of love letters addressed to no one in particular. It seems that sometime around this time (1980), Derrida reverted back to the more linear and somewhat argumentative style, the very style that defined his texts from the Sixties. He never however renounced a kind of evocation, a calling forth that truly defines deconstruction. Derrida takes the idea of a call from Heidegger. Starting in 1968 with “The Ends of Man,” Derrida devoted a number of texts to Heidegger’s thought. But, it is really with the 1978 publication of The Truth in Painting, and then throughout the 1980s, that Derrida intensified his reading of Heidegger. In particular, he wrote a series of essays on the question of sex or race in Heidegger (“Geschlecht I–IV”). While frequently critical, these essays often provide new insights into Heidegger’s thought. The culminating essay in Derrida’s series on Heidegger is his 1992 Aporias.