This book is an odd collection of Deleuze ephemera: letters, some ink drawings, reviews, interviews, and a few writings from early (1940s–1950s) in his academic career. These materials are epiphenomena: archival remnants that present us with a certain ambivalence. On one hand, these remnants will entertain Deleuze scholars, whose scholia will value Deleuze’s exam and course preparation materials on David Hume as well as the 15 letters to Félix Guattari collected here wherein we discover the first mention of a work of art as an ‘abstract machine’ (p. 43). On the other hand, Deleuze lived and worked so that there would be no need for an archive. Deleuze was no archivist. We know this not only because he destroyed his correspondence with Alain Badiou in late 1994, but also because Deleuze’s work tells us as much time and again. In the letters presented here we read: ‘Don’t think that I am a compulsive letter writer or that I have a sense of dialogue, I hate it’ (p. 72). Even the editor David Lapoujade writes that ‘there are no letters from these correspondents because Deleuze did not keep any mail’: ‘he differed in this way from other authors who considered their letters to be extensions of their work’ (p. 7). The ephemera presented here must be complemented with the more significant posthumous volumes of Deleuze’s work that we have in English, namely Desert Islands and Other Texts 1953–1974 (2004) and Two Regimes of Madness: Texts and Interviews 1975–1995 (2006). But this only helps if these texts intensify our relation to the work published by Deleuze, to the sheer inexhaustibility of the concepts presented there: multiplicity as a substantive repetition as opposed to reproduction, duration and immanence.

中文翻译：

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评论：Gilles Deleuze, Letters and Other Texts, David Lapoujade (ed.), trans。艾姆斯霍奇斯

这本书是德勒兹蜉蝣的奇特集合：信件、一些水墨画、评论、采访以及他早期（1940 年代至 1950 年代）学术生涯的一些著作。这些材料是附带现象：档案残余给我们带来了某种矛盾。一方面，这些残余物会取悦德勒兹学者，他们的学术界会重视德勒兹关于大卫·休谟的考试和课程准备材料，以及这里收集的给费利克斯·加塔里的 15 封信，其中我们发现第一次提到艺术作品是“抽象的”。机器”（第 43 页）。另一方面，德勒兹生活和工作，因此不需要档案。德勒兹不是档案管理员。我们之所以知道这一点，不仅是因为他在 1994 年底销毁了与阿兰·巴迪欧 (Alain Badiou) 的通信，还因为德勒兹 (Deleuze) 的作品一次又一次地告诉我们。在这里呈现的信件中，我们读到：“不要认为我是一个强迫性的写信人或我有对话感，我讨厌它”（第 72 页）。甚至编辑大卫·拉普贾德 (David Lapoujade) 也写道“没有这些通讯员的来信，因为德勒兹没有保留任何邮件”：“他与其他认为他们的信件是他们工作的延伸的作者在这方面有所不同”（第 7 页）。此处展示的蜉蝣必须与我们拥有的英语版德勒兹著作的更重要的死后卷相补充，即沙漠群岛和其他文本 1953-1974 (2004) 和两种疯狂的制度：文本和访谈 1975-1995 (2006)。但这只有在这些文本加强我们与德勒兹发表的作品的关系，以及那里提出的概念的绝对无穷无尽时才会有所帮助：