To be ‘Deleuzian’ represents for me a sign, not of recognition between accomplices in the context of something that could function as a ‘Deleuzian school’, but rather a sign of conniving or a ‘sign of intelligence’, according to the expression that Janicaud liked to use. I am thinking of a sign sent, not to a person (even if she is captivating), but rather to the objects that swirl around her – to her themes, her style and mannerisms, her concepts, or, if you prefer it, to the ‘mist that she brings to the room’ of your life when she writes, speaks or thinks. Above all, it is not a matter of ‘reverence’, because to be Deleuzian is to be ‘on the look out’, in order to test how far the concepts of Deleuze's philosophy may be stretched, without breaking.

How Does One Enter Deleuze?

I entered Deleuze's philosophy because, without initially understanding all its propositions, I could sense within it a great power. I started trusting it, because I had a complete literary formation, and I read a lot of German and Anglo-American novels. I had noticed that Deleuze's analysis coincided with mine, or went beyond it, in directions that were enriching my own. At the same time, I began to notice that his writings on art were what I had been waiting for for a long time, and I saw the artists around me reading Deleuze and finding him helpful in their practice.