By Nicholas Wright
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Additional info for Tendering the Impossible: The Work of Irony in the Late Novels of Don DeLillo
Example text
In looking for the source of this noise she is, without knowing so, looking for the figure of Otherness, Tuttle, she finds the next day. What is important about this passage is the suggestion DeLillo appears to make in it that the discovery of the Other is always associated with the discovery of a sign of the Other. On this day Lauren does not find Tuttle, but rather a twirling leaf in the air beneath a tree branch that extended over the roof. There was no sign of a larva web from which the leaf might be suspended, or a strand of some bird’s nest-building material.
Rather, the effect of irony is what we are left with, and what that is, is the appearance of its disappearance, the allegory or “meaning” that we always take to be the irony we have caught. Because deconstruction hopes for its own impossibility, and in a sense, tries to resist its own allegorization (that is to say, resists becoming a “Theory”), it resists naming irony. However, in the manner of de Man, this is primarily what enables deconstruction to constantly address irony proper. The way deconstruction writes irony (that is to say, specifically avoids writing it) is by attending as closely as possible to allegory, in fact, by inhabiting allegory in the same way in which Derrida’s texts always inhabit the texts and traditions they deconstruct.
As we will see, the structure of this possibility is written in the sign as the possibility of misreading; contingent failures of understanding are the conditions of possibility. For us to mean what we say it must be possible for our meaning to be mistaken. The possibility of this failure, as I’ve been saying, is what generates the semiotic economy; the possibility of this failure is “ineradicable” and is what I term irony. This is the background to the work of invention (art, interpretation) that, as we will see, must pass through the chiasmatic structure of irony.