Production of the New, London and New York: Continuum.

écritures, Québec: Presses de l’Université de Laval. Books of essays devoted to the individual and/or joint work of Deleuze and Guattari usually explore their ideas in relation to a wide variety of areas. Deleuze, Guattari and the Production of the New and Contr’hommage pour Gilles Deleuze are no exception to this rule: there are contributions across the two volumes dealing with pure philosophy, intellectual history, the arts (painting, conceptual art, music, cinema and literature, though nothing on architecture), method in the social sciences, and cultural/political critique – especially modes of resistence to capitalism, above all in its post-industrial, ‘cognitive ’ form. These areas often overlap within particular essays. As its title implies, the Laval volume only discusses solo Deleuze and the joint work, not solo Guattari, but its unity is primarily linguistic (it is in French) and geographic (it is very much a product of Québec). These two elements are not on the whole alluded to overtly in the book, but they do give it a distinctive underlying tone, since the concepts of ‘peuple manquant’ and ‘littérature mineure ’ could be applied with some justification to the people and the culture of Québec, and the French language connection means that certain more ‘authentic ’ aspects of Deleuze come through, above all his attitude to Marxism. Anglo-Saxon commentators do not always understand that the wrestling with Marx of such French philosophers as Merleau-Ponty, Derrida and Lyotard, as well as Deleuze, has the complexity of a lapsed Catholic’s anti-clericalism. Even if this could be regarded as a limitation to be overcome, it still needs to b