By American Water Works Association.; American National Standards Institute
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The analogy between the Third Reich’s tactical errors and deconstruction’s own militarized ambitions gone wrong is abundantly clear. ” Lehman’s handling of the story offers us an example of his technique as a literary critic. The action takes place at the summerhouse of Dan, a widower and “the scion of a landed estate”: Dan, a sympathetic fellow, feels estranged from his son Nick, an aspiring novelist. Nick has brought his friend Patty with him, and she is the villain of the piece. Contemptuous of Dan and his ancestral house, Patty spends most of the weekend in an antisocial posture: reading a book Tilghman identifies not by its title but by its author, Jacques Derrida.
In his reading of Hoffmann, Freud identifies the encounter as one that results in a paralyzing, disjunctive recognition. In anthropomorphizing the gaze of the machine, Nathanael falls in love. 5 If he invites us to trade in the text-as-body for text-as-machine, he refuses to accept a certain description of literary criticism that is based on projecting a humanizing or even intellectual outlook that might emanate from any text. 8 This refusal has far-reaching consequences in the debates over the constitution of the literary object, and the terms of literary interpretation, but it most immediately produces an affectual detachment that calls up deep suspicion.
The machine has been framed in order to establish a ground on which the human being can be represented. Lehman’s “mechanical and wooden” theorists allow him to defend the precincts of the spontaneous and the biological. This prejudicial setup can be read, thought through, and theorized as a temporal aberration: machines keep time through thoughtless repetition (this is what theorists, courtiers, and automatons do); the human and the organic live in a temporality free from the constraints of infernal repetition.