It perhaps risks absurdity to 'publish' anything now. I say that because the world is in a vortex of publishing of one sort or another, with the majority opinion being that the luminescent specter of the net is an all consuming beast, turning all that is solid into the virtual air of one and zero.
Nevertheless.
I have an addiction to the book, its heft, its paginated materiality. Perhaps it is a melancholic stupifaction on my part since I have a tablet, use it constantly and have more books on it than I will ever be able to read in this lifetime. In fact in many ways it makes reading an easier experience and opens up a new region of possibilities, perhaps even causing a new diffraction of knowledge production/reality ala Mcluhan. (After all, the precursor, in some respects, to F!/d? was/is PERFORATIONS, an online journal of Public Domain, Inc devoted specifically to the effects of the new technologicalization of the word, the luminous expansiveness that hyperlinks and the net seemed to offer.)  Ok, even granted that, I still love the physical book, if nothing else as an icon of the necessity of the materiality of knowledge production, the idea that it is created in an actual physical material place and carries that placement as a haunting, somehow, impossibly, of that place. I like the clutter they create, the sense of an impediment in a way. I suppose that I am indefatigably Benjaminian in that way.

My previous personal blog, ...close to impenetrable, has carried the load of announcements about upcoming books and newly released books. This present blog will take over from there. Besides FORT!/da? material I will discover like endeavors that I have come across and find of interest.

But first things first: what is FORT!/da? all about.  The Derrida quote that acts as a guide post above has its say...but also the introduction to the very first issue of PERFORATIONS laid much of the ground work for what was to follow so there is no point in repeating that. Suffice it to say that since that first issue came out (first in paper, then ported to the net around 1993 or so, the concept of the uncanny, a governing motif in much of FORT!/da? productions in one way or another, has become a massive thought form writ[h]ing within the nests of nets. The topic of the uncanny has become trending in the last few years because modernity does sift the sublime (large forms at a distance) , shifting the involution of the sublime to the suffocating nearness of the uncanny. (e.g., see here and here and here and here). The force of the academic actually gets it's charge from the demotic (not to say even the daemonic), as the powers of computer aided imagery of cinema becomes capable of generating virtually flawless simulacrums. The uncanny IS the main motif of modernity, the slant in the fort/da around which much of the culture swings, a wing festering on the thorn of techné.