Jacques Derrida, Glas

And here is the Judas hole. The whole book would lead back to it if there were such a thing here as a whole. Everything, thus, should have motivated the staging of the "crampon". I read:

everything comes down to living in the hook ("crochet"; also bracket) of the cripple; the cluster, the grapnel are a kind of hooked matrix. "Grappe ... E. Picardy and env. crape; provenç. grapa, hook; Span. grapo, hook; Ital. grappo, hook; low Latin grapa, grappa in Quicherat's Addenda; from the old High-German chrapfo, hook, mod. German Krappen; cp. Cymric crap. The grappe (grape cluster) has been so called because it has a hooked or grappled quality" (Littré). ["Glas", pp. 216-17.]

The crampon should have imposed itself on the relation (a clinging / de-clinging dual unity, inhibited at the origin) between the two columns or colossi, as well as each time reference is made to the "rhythm" of the "little jerks, gripping and suctions, patchwork tacking (placage) - in every sense and direction - and gliding penetration. In the embouchure or along the column"; [Ibid., p. 142.] or yet again to the "general sucker (ventouse)" ("The sucker is adoration. Adoration is always of the Holy Mother, of the Galilean mother, in whom one is conceived without a father..." [Ibid., p. 160.]) or to the concept (Begriff) as a stricture of gripping or of the grip, or to the hairy body, golden fleeces or pubic fleeces, the "glabrous face" of effeminate "Pop-pop," and so forth. And especially in the passage from "gl", to "gr", and to "cr" that moves all throughout the last pages and the last scenes, and so on.

Jacques Derrida, "Between Brackets", Points... Interviews 1974-1994. Stanford University Press 1995, p. 7