ABSTRACT
This chapter begins by examining two examples where Derrida and Beckett appropriate the eyes of their respective mothers as their own eyes. It focuses then on the relation between words, images, and their surface of inscription by analysing a film that Derrida briefly described in Monolingualism of the Other , where he expressed his dream of making language speak itself by itself, giving as a result “not necessarily an infant but a tattoo.” It proves how Derrida described his style as a tattoo because he conceived of his texts as undecidable inscriptions, penetrations, and transfusions always working between images and words.
