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在《对话》中,德勒兹对比了法国文学和英美文学,认为法国人受限于等级制度、起源、宣言和个人纠纷,而英国和美国文学则发现了一条逃离等级制度,摒弃起源问题、学派和个人联合的逃逸线,发现了一个进行持续创造的集体过程,该过程既无起点,也无确定的终点。德勒兹特别欣赏美国作家,尤其是赫尔曼·梅尔维尔。最终将美国文学与英国文学区分开来的是前者对同情和大路上同志情谊的实用主义的、民主的信奉。对德勒兹而言,美国文学的逃逸线是向西的,但该方向反映了他对有欧洲血统的作家的独有关注。如果人们把注意力转到华裔美国文学上,关于文学地理学的问题就变得更加复杂。通过研究汤婷婷和林涛的作品,可以对其中一些复杂情况进行详细说明。
In Dialogue, Deleuze compared French literature to Anglo-American literature, arguing that the French were limited by hierarchy, origin, manifesto and personal dispute, while British and American literature found a hierarchy of escaping from their origins, A combination of schools and individuals escapes, found a continuous process of creating a collective process, there is no starting point, there is no definite end. Deleuze especially appreciates American writers, especially Herman Melville. What finally separated American literature from English literature was the former’s pragmatic and democratic faith in sympathy and gay friendship on the road. For Deleuze, the escape line for American literature is westward, but that direction reflects his unique focus on writers of European descent. If people turn their attention to Chinese American literature, the issue of literary geography becomes more complicated. Through the study of Tang Tingting and Lin Tao’s works, some of these complicated situations can be described in detail.