德勒兹对力量的考察，来源对斯宾诺莎与尼采的解读。斯宾诺莎在《伦理学》中提出 conatus（存在者持存自身存在的内在倾向），并将个体身体重构为一系列传递与接收的力构成的集合，德勒兹由此区分了潜能（potentia/puissance）与权力（potestas/pouvoir），前者代表一种内在的、肯定的行动能力，后者则表现为外在的统治与限制。同时，受尼采启发，德勒兹阐明力量的本质在于与其他力量之间的量性差异，而权力意志是综合这些力量并促成其涌现的原则，在力的相互作用中，主动力趋向于肯定与创造，而反应力倾向于否定与削弱。由此，力的概念从斯宾诺莎式分析个体的持存，扩展到更大的动态关系化场域。
威廉·布莱克 (1757-1827) ，英国著名诗人、画家。提到布莱克，很多人的第一反应大概会是《天真与经验之歌》中的短诗 The Tyger 与 Hubert Parry 谱曲的 Jerusalem，无论是那明亮燃于黑夜之林的灵魂之虎，与那关于创造与神明震慑人心的诘问，还是那机械僵硬、可能寄居在每个人心中的 Satanic Mills，与那在艺术的熔炉中滚烫前进的 Chariots of Fire，都让布莱克成为了英语文学中属于永恒的诗人。
Near the end of The Loons, Vanessa notes that the “long-drawn call” of the birds, described as “half mocking and half plaintive”, has fallen silent across the lake, paralleling Piquette’s tragic death. This loss of sound seems to suggest that the birds and the Métis are destined to share a fate of bitter destruction. However, throughout the passage, if one listens closely, the author’s tone echoes that same mix of mockery and lament. By ridiculing her own deeply ingrained arrogance and indifference toward the Métis and by mourning the oppression and injustice suffered by people like Piquette, the author deconstructs her own racist narrative rather than reinforcing it. What might seem like a racist text is transformed into a sorrowful confession.
