ABSTRACT
Arriving now at the final chapter of this book, I want to explore through writing stories for children the implications of what has unfolded in each of the previous chapters. I open up a diffractive space of thought about writing stories for children based on my own experience of re-writing the Australian children’s classic The Fairy Who Wouldn’t Fly (O’Harris, 2014). Deleuze and Guattari invited us, in 1987, to think about and to write books differently. They suggested that, rather than basing our stories on individualized enunciations, with subjects trapped in dominant modes of subjectification and patterns of desire, we generate books as assemblages:
An assemblage, in its multiplicity, necessarily acts on semiotic flows, material flows, and social flows simultaneously . . . There is no longer a tripartite division between a field of reality (the world) and a field of representation (the book) and a field of subjectivity (the author) . . . there is a collective assemblage of enunciation, a machinic assemblage of desire, one inside the other and both plugged into an immense outside that is a multiplicity in any case.
