Abstract
This article concerns the Portrait of Jacques Derrida, drawn by Hélène Cixous in 2001. The pages I choose to focus on are nine extracts of Derrida's footnoted additions to an essay by Geoffrey Bennington, either annotated or highlighted, sometimes both, in Cixous's hand in red, blue or black pen. The central point I develop is that Cixous's close relation to Derrida is not so much to an intimate friend whose skin could be touched, as to Derrida qua writing being, Derrida as corpus. I argue that intimacy operates by loosening Derrida's tongue, entering into his tongue in order to get to his heart by means of a hand-performed ‘ritual’, which I call the ritual of ‘sur-lining’.
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