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DOI: 10.1007/s11153-005-0104-9
Book review
can only find helpful. Such interrogation of the text seems like good
literary analysis. What is more provocative, however, is the claim that
all of Kierkegaard’s writings invite deconstructive readings – as Rum-
ble puts it, “undermining the authority and coherence of the narrative
voice, then, is a tactic common to both pseudonymous and verony-
mous [signed] works” (164). The essays by Jegstrup, Gibbs, and Rum-
ble, for example, bring Works of Love under the same searchlight of
literary analysis as Either-Or and Fear and Trembling. What is pro-
vocative is the claim that there is no distinction between indirect and
direct communication – all the texts only communicate indirectly – or
the claim that ‘S. Kierkegaard’ is the twelfth pseudonym (74). How-
ever, even this challenge is mitigated when it is claimed that decon-
structive readings can never insist on being “dominant readings” (2)
and when it is denied that “logocentric approaches to reading texts
are somehow illegitimate” (3).
The volume has a two-sided task – both to show (1) that decon-
struction is not the bête noire it is sometimes made out to be (rel-
ativistic, nihilistic, reductive, precluding ethical decisiveness), and to
show (2) that Kierkegaard’s texts are literarily complex, and that a
deconstructive approach to them “appears to reach deeper into the
complexities of his texts, unfolds them, considers the intricacies of
his thinking – pseudonyms, communication devices, ironies – exam-
ines the many meanings of them” (3). Caputo, e.g., defends Derri-
dean deconstruction as more like Kierkegaard’s ‘religious’ than his
‘aesthetic’; “undecidability is not indecision but the ongoing condi-
tion of possibility of decision demanding the constant renewal of deci-
sion” (17). Other essayists spend more time exposing the aporias in
Kierkegaard’s texts – e.g., re-reading Either-Or as not presenting a
choice between ethics and aesthetics, but rather as problematizing the
connection between them (Wood), or suggesting that Judge William’s
critique is out-of-sync with the presentation of the aesthete (Garff).
While some of the articles attempt to show affinities between
Kierkegaard and Derridean deconstruction (e.g., Dooley), or make even
the stronger claim that Kierkegaard “begins the deconstructive project”
and Derrida is a welcome reiteration (8), Caputo’s analysis is espe-
cially interesting for its attention to the decisive differences between
the two thinkers. Admitting that both Kierkegaard and Derrida “stake
everything on the need to decide in the midst of undecidability,” Cap-
uto goes on to contrast them sharply in terms of Socratic irony: “For
the Christian Socrates, irony and humor are strategies and incognitos,
whereas for a more deconstructive Socrates irony is not a strategy but
BOOK REVIEW 127