The key to understanding Deleuze's complete body of work.
"A coherent and systematic reading of a philosopher who has consistently courted the incoherent and systematic. What we must avoid are encounters with those who cultivate sad passions (the men of ressentiment in the Nietzschean formulation); and we must increase our power to compose new relationships with compatible bodies with whom we share a common notion. Hardt's exceptional book is one such joyful encounter." -Times Literary Supplement"An excellent book. The project of Gilles Deleuze is to situate Deleuze squarely in the camp of those who seek to deepen and transform our philsophical understanding and political situation. Hardt seems to me to be directly on target." -Substance"Both for its object and its method of study, here is a work that will mark the future of the field of Deleuzian studies." -Eric Alliez, Critique"Hardt's reading of Deleuze is complex and precise. He follows the intricacies of the argument and of the shifting positions with considerable skill, thus providing us with a study not only of the Deleuzian way of doing philosophy, but of Deleuzian reading-of the selectivity of its targets, of its agonistic approach to philosophy, through indirect attack on one main opponent. Reading Hardt reading Deleuze reading, we can understand, for instance, why Deleuze's exposition usually takes the form not of a dialectic but of a correlation, of a system of differences." -Radical Philosophy"How can we forget the dialectic? How an we affirm a constitutive ontology? Through its efforts to respond to these questions, Gilles Deleuze's philosophical apprenticeship presents the Bildungsroman of any contemporary philosophy that wants to break away from the destiny of modernity. Michael Hardt unravels the guiding thread of this philosophy of the future." -Antonio Negri"Hardt's interpretations are exceptionally well-grounded in the history of philosophical discourse, a discourse he exercises with discipline and rare insight. As the only major work on Deleuze in English, this book will undoubtedly set the standard for any future study of one of France's most important thinkers-and it is a very high standard, indeed." -Peggy KamufAlthough much has been written about Deleuze’s engagement with the arts, Gilles Deleuze and the Fabulation of Philosophy concerns the art of his philosophy. Gregory Flaxman suggests that Deleuze’s notorious rejection of representation gives rise to a singular task—to create new concepts and invent new means of philosophical expression. Tracing this task throughout Deleuze’s vast oeuvre, Flaxman argues that Deleuze’s ambition to think and write “otherwise” constitutes the fabulation of philosophy itself.
For Flaxman, Deleuze’s philosophy is organized around the notion of the friend (philos). This book dramatizes the practice of friendship in Deleuze’s intimate affairs with philosophers—including Plato, Aristotle, Spinoza, Kant, and Foucault—and close encounters with a range of writers, including Homer, More, Kafka, Woolf, and Borges. Flaxman traces Deleuze’s relationship with Nietzsche, the friend from whom he learned to write “in his own name,” to explain how apprenticeship becomes the initial condition of Deleuze’s philosophical method. Detailing the transformation of Nietzsche’s genealogy into “geophilosophy,” Flaxman goes on to show how Deleuze’s philosophy of the earth precipitates his return to ancient Greece and induces his resolution to overturn Platonism. In this spirit, the book demonstrates Deleuze’s evocation of the “powers of the false” by examining how, in his battle against representation, he makes fiction the basis for a minor philosophy. This first volume draws to a close with a timely elaboration of Deleuze’s avowed, if enigmatic, “style as politics” in an age when capitalism and communication challenge the claims of philosophy as never before.
A stunning and original contribution, Flaxman’s book restores the question of aesthetics to Deleuze’s thinking and writing. Gilles Deleuze and the Fabulation of Philosophy not only revitalizes our sense of the philosopher but revises the sense of his philosophy, provoking critical problems and novel possibilities with which readers will wrestle for years to come.
Gregg Lambert demonstrates that since the publication of Proust and Signs in 1964 Gilles Deleuze’s search for a new means of philosophical expression became a central theme of all of his oeuvre, including those written with psychoanalyst Félix Guattari. Lambert, like Deleuze, calls this “the image of thought.”
Lambert’s exploration begins with Deleuze’s earliest exposition of the Proustian image of thought and then follows the “tangled history” of the image that runs through subsequent works, such as Kafka: Toward a Minor Literature, The Rhizome (which serves as an introduction to Deleuze’s A Thousand Plateaus), and several later writings from the 1980s collected in Essays Critical and Clinical. Lambert shows how this topic underlies Deleuze’s studies of modern cinema, where the image of thought is predominant in the analysis of the cinematic image—particularly in The Time-Image. Lambert finds it to be the fundamental concern of the brain proposed by Deleuze in the conclusion of What Is Philosophy?
By connecting the various appearances of the image of thought that permeate Deleuze’s entire corpus, Lambert reveals how thinking first assumes an image, how the images of thought become identified with the problem of expression early in the works, and how this issue turns into a primary motive for the more experimental works of philosophy written with Guattari. The study traces a distinctly modern relationship between philosophy and non-philosophy (literature and cinema especially) that has developed into a hallmark of the term “Deleuzian.” However, Lambert argues, this aspect of the philosopher’s vision has not been fully appreciated in terms of its significance for philosophy: “not only ‘for today’ but, to quote Nietzsche, meaning also ‘for tomorrow, and for the day after tomorrow.’”
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