I believe in effect that it is better to erase all the pictures all the other cards, the photos, the initials, the drawings, etc. The Oxford card is sufficient for everything. It has the iconographic power that one can expect in order to read or to have read the whole history, between us, this punctuated sequence of two years, from Oxford to Oxford, via two centuries or two millenia . . . The Postcard, 204 Sometimes I wish that everything remain illegible for them—and also for you. To become absolutely unknowable for them. The Postcard, 205 I remember only the celluloid baby doll that was aflame in two seconds . . . That I burned the baby doll instead of taking it out on her—if I publish this people are to believe that I am inventing to suit my compositional needs. The Postcard, 253 Jacques Derrida and Catherine Malabou, Counterpath, David Wills ,Stanford University Press, 2004) Chapter 16 with subtitles for “Correspondences” Fax”; and Chapter 12: “Telegram”; “Stamp”; “Postcard”; “Telephone”; “Telepathy.” The Postal Principle.” Subtitles the Beginning Was the Post” and of the “In “Epochs Postal” Photo of Bodleian with a citation from serving as the caption on p. 187 the Postcard n chapter 17 Oxford Scene” and the page facing the table of contents has a grey “The box under the with the word all in capital letters, then this “CORRPESONDENCE “ stennce, without a period, aligned as follows: Letters and Postcards (Extracts) Jacques Derrida writes to Catherine Malabou
I believe in effect that it is better to erase all the pictures all the other cards, the photos, the initials, the drawings, etc. The Oxford card is sufficient for everything. It has the iconographic power that one can expect in order to read or to have read the whole history, between us, this punctuated sequence of two years, from Oxford to Oxford, via two centuries or two millenia . . . The Postcard, 204 Sometimes I wish that everything remain illegible for them—and also for you. To become absolutely unknowable for them. The Postcard, 205 I remember only the celluloid baby doll that was aflame in two seconds . . . That I burned the baby doll instead of taking it out on her—if I publish this people are to believe that I am inventing to suit my compositional needs. The Postcard, 253 Jacques Derrida and Catherine Malabou, Counterpath, David Wills ,Stanford University Press, 2004) Chapter 16 “Correspondences” with subtitles for “Telegram”; “Stamp”; “Postcard”; “Telephone”; Fax”; and “Telepathy.” Chapter 12: The Postal Principle.” Subtitles “In the Beginning Was the Post” and “Epochs of the Postal” Photo of Bodleian with a citation from the Postcard serving as the caption on p. 187 n chapter 17 “The Oxford Scene” and the page facing the table of contents has a grey box under the with the word “CORRPESONDENCE “ all in capital letters, then this stennce, without a period, aligned as follows: Letters and Postcards (Extracts) Jacques Derrida writes to Catherine Malabou
Burt%20postal%20principle%20is%20privileged%20July%2012%202013%20%5B2%5D.docx