Devin Fore is professor at Princeton University and an editor of the journals October and New German Critique. Fore is the author of Realism after Modernism: The Rehumanization of Art and Literature. He published articles in New German Critique, October, Configurations, and Grey Room and has also translated many texts from German and Russian.

"[Fore reveals] a fascinating array of original strategies to record a world turned upside down. We follow all manner of 'factographic' authors and artists (writer Sergei Tret’iakov and filmmaker Dziga Vertov are only the best known) as they scramble to register the revolution as immediately as possible. . . .  This riveting study of 'reality in revolution' pressures our understanding of both terms; it also shows us how a reordering of any society involves a refashioning of its individuals. . . . Fore thus reclaims a lost period of tremendous innovation, which renders Soviet Factography an important intervention in our own present as well: Its recovery of documentary practices counts as an indirect riposte to the purveyors of disinformation today."

• Introduction: Factography’s Fortunes Chapter One: The Facts against the Image Chapter Two: Overcoming the Delay Chapter Three: Paradigms of Factography Chapter Four: The Fatal Question Afterword: Contact Stratum Acknowledgments Notes Index

Devin Fore is professor at Princeton University and an editor of the journals October and New German Critique. Fore is the author of Realism after Modernism: The Rehumanization of Art and Literature. He published articles in New German Critique, October, Configurations, and Grey Room and has also translated many texts from German and Russian.

"[Fore reveals] a fascinating array of original strategies to record a world turned upside down. We follow all manner of 'factographic' authors and artists (writer Sergei Tret’iakov and filmmaker Dziga Vertov are only the best known) as they scramble to register the revolution as immediately as possible. . . .  This riveting study of 'reality in revolution' pressures our understanding of both terms; it also shows us how a reordering of any society involves a refashioning of its individuals. . . . Fore thus reclaims a lost period of tremendous innovation, which renders Soviet Factography an important intervention in our own present as well: Its recovery of documentary practices counts as an indirect riposte to the purveyors of disinformation today."

• Introduction: Factography’s Fortunes Chapter One: The Facts against the Image Chapter Two: Overcoming the Delay Chapter Three: Paradigms of Factography Chapter Four: The Fatal Question Afterword: Contact Stratum Acknowledgments Notes Index

Devin Fore is professor at Princeton University and an editor of the journals October and New German Critique. Fore is the author of Realism after Modernism: The Rehumanization of Art and Literature. He published articles in New German Critique, October, Configurations, and Grey Room and has also translated many texts from German and Russian.

"[Fore reveals] a fascinating array of original strategies to record a world turned upside down. We follow all manner of 'factographic' authors and artists (writer Sergei Tret’iakov and filmmaker Dziga Vertov are only the best known) as they scramble to register the revolution as immediately as possible. . . .  This riveting study of 'reality in revolution' pressures our understanding of both terms; it also shows us how a reordering of any society involves a refashioning of its individuals. . . . Fore thus reclaims a lost period of tremendous innovation, which renders Soviet Factography an important intervention in our own present as well: Its recovery of documentary practices counts as an indirect riposte to the purveyors of disinformation today."

• Introduction: Factography’s Fortunes Chapter One: The Facts against the Image Chapter Two: Overcoming the Delay Chapter Three: Paradigms of Factography Chapter Four: The Fatal Question Afterword: Contact Stratum Acknowledgments Notes Index