Abstract

Deleuze's Difference and Repetition is a notoriously difficult work of philosophy. Moreover, it is a work of philosophy that has led to quite divergent interpretations. How are we to account for this phenomenon of generating such distinct interpretations and appropriations? In this article, I apply Deleuze's theory of problems, questions and individuation to Deleuze's text as a way of understanding the stylistic strategy of his writing. Given Deleuze's critique of identity and representation, he would fall into a performative contradiction if his writing were designed to transmit an identical thought from sender to receiver such that the receiver then could be said to represent Deleuze's thought. Rather, I argue, Deleuze aims to write ‘machinic’ or ‘productive’ works that lead to the production of something new through the reader's encounter with the work. Not only does Difference and Repetition theorise the process of creative individuation in the production of beings, I contend, but it also forces the reader to undergo a process of creative individuation, through which they produce a non-identical double of the work in the process of their reading that then takes on a life of its own. It is this phenomenon of the book as a machine for producing difference, I contend, that helps to account for the tremendous creative fecundity it has generated in being appropriated by a wide variety of disciplines and practices.