against interpretation

For all Foucault's reservations about modernity and authorship, his writings are typical of a modernist author in their demand for interpretation. Any writing, of course, requires some interpretation as part of our efforts to evaluate, refine, extend, or appreciate its achievement; or to provide special background that readers outside the author's culture or historical period may require. But certain authors – in literature, the twentieth-century modernists are among the best examples – present themselves as so immediately and intrinsically “difficult” as to require special interpretative efforts even for those well equipped to understand them. The Wasteland, Cantos, and Finnegans Wake, for example, require explanation, even for culturally and historically attuned readers, in a way that Paradise Lost, the Essay on Man, and Emma do not. Philosophy, at least since Kant and Hegel, has also provided its share of “intrinsically obscure” writing. Although it may not be easy to formulate the precise difference, it is clear that Wittgenstein, the later Heidegger, and Derrida require a sort of interpretation that Russell, Dewey, and Quine do not.

Foucault's penchant, particularly prior to Discipline and Punish, for the modernist obscure explains much of the demand for interpretations of his work. But the need to interpret Foucault sits ill with his own desire to escape general interpretative categories. More important, as the enterprise of interpretation is usually understood, interpreting Foucault is guaranteed to distort his thought. Interpretation typically means finding a unifying schema through which we can make overall sense of an author's works.