Book contents
- Frontmatter
- Contents
- Series Editor’s Preface
- Editors’ Introduction
- Acknowledgements
- Dedication
- Part IScenes of Differences
- 1Scenes of Differences: Where Philosophy and Poetics, Indissociably, Make the Event of Writing (2006)
- 2Philosophy at the Risk of the Promise (2004)
- Part IIOn School and Writing
- 3“School was hell for me . . .” (1989)
- 4“I don’t write without artificial light” (1982)
- 5Archive and Draft (1998)
- 6Between the Writing Body and Writing (2001)
- Part III“Oh my friends”
- 7With Levinas: Between Him and Me in Affection and Shared Trust (2003)
- 8Form and Fashion: (Never again: in the face of all opposition, never again think that “For the Form”) (2001)
- 9Echoes of Encounters (2003)
- 10This Night in the Night of the Night . . . (2003)
- 11Her Evil Genius: Preparations for the Infinite (2004)
- 12Prière d’insérer (1991)
- 13Eyespot Like No Other (1980)
- Index
13 - Eyespot Like No Other (1980)
Published online by Cambridge University Press: 07 August 2026
Book contents
- Frontmatter
- Contents
- Series Editor’s Preface
- Editors’ Introduction
- Acknowledgements
- Dedication
- Part IScenes of Differences
- 1Scenes of Differences: Where Philosophy and Poetics, Indissociably, Make the Event of Writing (2006)
- 2Philosophy at the Risk of the Promise (2004)
- Part IIOn School and Writing
- 3“School was hell for me . . .” (1989)
- 4“I don’t write without artificial light” (1982)
- 5Archive and Draft (1998)
- 6Between the Writing Body and Writing (2001)
- Part III“Oh my friends”
- 7With Levinas: Between Him and Me in Affection and Shared Trust (2003)
- 8Form and Fashion: (Never again: in the face of all opposition, never again think that “For the Form”) (2001)
- 9Echoes of Encounters (2003)
- 10This Night in the Night of the Night . . . (2003)
- 11Her Evil Genius: Preparations for the Infinite (2004)
- 12Prière d’insérer (1991)
- 13Eyespot Like No Other (1980)
- Index
Summary
“Ocelle comme pas un” appeared as the preface to Jos Joliet's L’enfant au chien-assis (Paris: Galiée, 1980), 9–43.
on this day
… no longer knowing where to put oneself and I think of a law: the energy of an apostrophe is always recognized in that it provokes you where you no longer know from the start where to put yourself.
There where The Child speaks to me as no other.
There where? But then there, what does that mean? Where does this there take place— since, there where the other comes to you, there where the other joins you (you yourself by the address to yourself adjoined), there where, joined you would take place you no longer know where to put yourself? You no longer know where to put yourself because, suddenly violated by the apostrophe, on such and such a day and in this light you glimpse the secret: namely, so to speak, that you hardly know where your name comes from, who summons you, what your name is, and who is in charge of your identity: questions of birth and blood, imbroglio of filiations, when so many genetic difficulties [genes], through generations of people, gentle and otherwise, genetics and genealogy are crossbred.
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- Thinking What Comes, Volume 2Institutions, Inventions, and Inscriptions, pp. 192 - 211Publisher: Edinburgh University PressFirst published in: 2026
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