In 1968, Leslie Kaplan, born in the United States, but resident in France since childhood, educated there and also French, has abandoned the way to the lead his studies in philosophy, psychology and history, has reneged, as stated, embourgeoisified-ment of intellectual and as did so many other comrades and Maoist militants, has started working in a factory (on the outskirts of Paris and Lyon). There he is at the time of the May riots of that year, in which it participates. However, after two and a half years, leaving the factory, drawn from her experience enlivens no political commitment, but almost Unexpected-nately, marking its entry in writing, which still continues.

Excess-factory is the first book that Leslie Kaplan published in 1982. Book which caused shock and controversy, and it was received with praise by Marguerite Duras ( "no one has ever spoken of the factory as it has done you") and by Maurice Blanchot ( "here we understand that there will be another world that never was"). The book is not, as perhaps might be expected, the story of his political commitment, but the writing down of what has been known in the factories where he worked. Writing the same factory as a universe in which work is alienated and the subject who performs it has no other experience that the absence of subjectivity.

In Excess-factory Leslie Kaplan it is in no way intended to describe the factory, even less in the way of naturalism of Zola, but to write the factory. Real return it by writing, in order that the reader, reading, among literally in it. Put it in front of him so that he feels his inhospitality. Therefore, we steal images and only shows objects, which are required look. Writing the factory is sensitive to these objects. also bleak because there no one is defined as the subject of the action is neither an "I" or (in the factory where only women work) a "she", but "an" indefinite pronoun and not numeral, indefinite and nonpersonal: impersonal subject moving in that space without limits. Writing the factory is depersonalize the subject.

Your first line presents "the great universe factory, which breathes for you," world ( "the" world) while infinitely closed and infinite-mind fragmented, where it is always the same and does not come off: no always leaves where it is going or where it always is inside. No outside this universe and that is hell without disguise contains Excess-factory, story exactly composed of nine circles and where almost every line of a script that lets even the whites are expressed seems to echo the recommendation of Dante "abandon all hope."

Why too much talking about the factory? What binds the excess to the factory? Excess introduces the will to write. Because writing exceeds the factory work and any kind of action, impugnándolos, producing excessive paradoxical mind-place created from say 'no outside ". Regarding the factory, the factory Excess-sets (writes) a word that is unnecessary. Write the factory provides the possibility that too much, in that excess of lived experience, to generate a kind of over-life (also a kind of death). Writing, at last, is to survive. Writing is excessive.