A few words for Axel Vander: John Banville and the pursuit of deconstruction

The revelations about Paul de Man’s activities in Belgium during the Second World War placed him, and by extension deconstruction, on public trial. The affair gave rise to a series of novels, such as Gilbert Adair’s The Death of the Author (1992) or Bernhard Schlink’s Homecoming (2008), that dismiss critical theory as ethically bankrupt charlatanism. John Banville’s Shroud (2002) and Ancient Light (2012) place the enigmatic theorist Axel Vander, a figure resembling de Man, in the dock, but these novels form no decisive judgement about his guilt. The texts reflect on memory, mourning, forgetting and responsibility, and about what writing might consign to the future, questions persistently raised by de Man and Jacques Derrida. As such, they might be said to speak to, or “inhabit”, deconstruction, rather than condemning it. This essay traces how Banville reckons with Axel Vander, and pursues the thought of de Man and Derrida, by means of three words: shroud, ash and cleave. These words at once connote concealment, destruction and separation and also preservation, survival and connection. As the discussion suggests, such words testify to the memory work performed by deconstruction.