For the last twenty-five years, I have been studying the philosophy of Gilles Deleuze. In an initial effort, when Deleuze was not as well known as he is today, I tried to provide a general introduction to his thought and that of his frequent collaborator, Félix Guattari. In a subsequent series of books, I offered an assessment of the relevance of Deleuze and Deleuze-Guattari for understanding the arts, especially those of music, painting, cinema and literature. In the course of these investigations, I gradually became aware of a faint yet persistent anti-narrative strain in Deleuze's thought, or at least a predilection for disruptions of conventional narrative and a valorisation of the visual image over the verbal story. This struck me as odd, since Deleuze wrote three brilliant books on creative writers (Proust, Sacher-Masoch, Kafka) and frequently discussed works of literature, many of which have a strong narrative component. I pursued this question further in essays devoted to the concept of fabulation, the vague outlines of which Deleuze articulated late in his career, and after that inquiry, I felt convinced that Deleuze could be of little assistance in the analysis of the properly narrative aspect of literature.