As far as I know, there is no accurate count of all the interviews Derrida has granted, in one circumstance or another, since 1968, the date cited in many bibliographies for his first published interview in a now vanished journal. These were, in any case, very rare throughout the 1970s, and began to proliferate only after 1980. In 1992, Points de suspension: Entretiens, a collection of twenty interviews assembled and presented by Elisabeth Weber, included in appendix a list of an additional sixty-seven interviews then published or broadcast. In the more recent For What Tomorrow, a book that itself has the subtitle of “Dialogue,” Derrida's interlocutor, Elisabeth Roudinesco, estimates in a note that he has “taken part in about a hundred interviews (Tomorrow, 14). This figure probably falls well short of any thorough count, presuming one could be made that included all the interviews Derrida has frequently granted to newspapers when he travels abroad, to obscure journals, or even student publications. Above all, any such accounting—a hundred, two hundred, five hundred—presumes that the genre “interview” is a self-evident one, and therefore easily discernable from every other genre of writing, speaking, or engaging with interlocutors. But this assumption and its attendant or supporting presuppositions encounter serious challenges in all of Derrida's work, challenges that are not only theoretical, as we say, but quite practical.