On October 10, the New York Times published a front-page obituary for French philosopher Jacques Derrida. The headline, “Jacques Derrida, Abstruse Theorist, Dies in Paris at 74,” was a tip-off to anyone familiar with US press coverage of the seminal thinker that the piece was not going to be an affectionate homage to the man whom Jacques Chirac called “one of the major figures in the intellectual life of our time.” Yet even though American papers had scorned and trivialized Derrida before, the tone seemed particularly caustic for an obituary of an internationally acclaimed philosopher who had profoundly influenced two generations of American humanities scholars.
The writer, Jonathan Kandell, did not conceal his disdain for Derrida’s style of philosophical inquiry, popularly known as “deconstruction.” Derrida had advanced deconstruction as a challenge to unquestioned assumptions of the Western philosophical tradition. He described it modestly as a “gesture of distrust” toward prevailing notions. Kandell, on the other hand, suggested that it amounted to a no-holds-barred attack on truth and meaning.
Kandell’s obit provoked an uproar among Derrida’s American admirers. Professors at the University of California, Irvine, where Derrida had lectured for years, were indignant about what they viewed as an irresponsible assault on complex thought at a time when the manichean worldview emanating from the White House encouraged “black and white thinking.” Kandell had, in fact, resurrected an old, bitter dispute over Derrida’s influence and legacy among American intellectuals. The vilification of deconstruction dates back to the culture wars of the 1980s. Conservatives pilloried deconstruction as a campaign against all that they held sacred: standards, tradition, Western civilization, the classics and truth.
At that time, the right was waging a battle against the influence of “tenured radicals,” as neoconservative Roger Kimball put it in a screed published in Commentary in June 1990. Derrida came in for particularly harsh criticism from Allan Bloom in The Closing of the American Mind and Lynne Cheney in Telling the Truth. The term “deconstruction,” along with “postmodernism,” provided a handy way to link all of the objectionable “isms” infecting the academy; by identifying it with radical feminism, multiculturalism and even Marxism, so-called cultural conservatives could stigmatize all of these intellectual currents in a single stroke and scold the whole gamut of dangerous innovators.
Ironically, the American left was often no more enamored of Derrida than the right. Although Derrida had always been a man of the left–a tireless critic of South African apartheid and the death penalty, an opponent of totalitarianism and racism–many American leftists faulted him for what they saw as an insufficiently firm commitment to truth. Some of their criticism was similar to what was coming from the right. They argued that deconstruction made it impossible to develop a principled political philosophy with its stress on constantly questioning the basis of ethical judgment.