Parts of this essay were presented at the 2013 ACLA in Toronto and in the Dept. of Languages and Cultures Seminar Series at the University of Otago. I thank both audiences and in particular Erika Wolf, Haun Saussy, Oľga Solov’eva, Christopher Bush, and Michelle Clayton for their invaluable feedback. I also thank the anonymous reviewers for their insightful reports on earlier versions of this essay.

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35. Clark cites Pravda as exemplifying Anderson’s account of “the central role of the newspaper in fostering a sense of national identity.” Clark, Moscow, 87.

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37. Moretti, Atlas of the European Novel, 17.

38. Griffiths, F. T. and Rabinowitz, S. J., “Tolstoy and Homer,” Comparative Literature 35, no. 2 (Spring 1983): 97–125 CrossRefGoogle Scholar; Moretti, Modern Epic, 50n32.

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40. Ram, Imperial Sublime, 5.

41. Moretti, Modem Epic, 189; Griffiths and Rabinowitz, “Tolstoy and Homer,” 123.

42. Tret’iakov, “Novyi Lev Tolstoi,” 35.

43. Lenin, “S chego nachat’?,” 11; Lenoe, Closer to the Masses, 27,104.

44. Tret’iakov, “Novyi Lev Tolstoi,” 38.

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48. Widdis, Visions of a New Land, 64. Tret’iakov may have contributed to the development of Eisenstein’s theory of montage. Fore, Devin, “All the Graphs: Soviet and Weimar Documentary between the Wars” (PhD diss., Columbia University, 2006), 188-89Google Scholar.

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55. Chuzhak, Nikolai, “Literatura zhiznestroeniia,” Novyi Lef 11 (1928): 17 Google Scholar. On the conjunction of Russian futurism’s efforts to make “new referents” and the Christian incarnation of the word, see Pomorska, Krystyna, “Maiakovskii and the Myth of Immortality in the Russian Avant-Garde,” in Baran, Henryk, ed., Jakobsonian Poetics and Slavic Narrative: From Pushkin to Solzhenitsyn (Durham, 1992), 159 Google Scholar.

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57. Fore, Devin, “The Operative Word in Soviet Factography,” October 118 (2006): 108 CrossRefGoogle Scholar; Lenoe, Closer to the Masses, 232-40. Lef writers were criticized because they “incorrectly interpreted the ocherk, opposing it to all other genres of literature, and considering the ‘literature of fact’ the reigning type of Soviet literature.” P. K. F., “Ocherk,” in Literaturnaia entsiklopediia v 111., vol. 8 (Moscow, 1934).

58. Tret’iakov, Sergei, “Moskva-Pekin: Put’fil’ma,” Lef 3 (1925): 34, 33Google Scholar.

59. Cendrars’s work had received significant attention in Russian literary circles. In late 1913, an article discussing Cendrars and Delaunay-Terk’s work appeared in the Paris-based Russian literary journal Helios, and, in December 1913, A. A. Smirnov gave a talk in Petersburg, during which he probably discussed Cendrars and Delaunay-Terk’s book. Khardzhiev, Nikolai, “Poeziia i zhivopis’ (Rannii Maiakovskii),” in K istorii russkogo avangarda (Stockholm, 1976), 55 Google Scholar, 82nl34, 82nl32; A. R-v. “Peterburg” section of “Khudo-zhestvennaia letopis’,” Apollon 1-2 (1914): 134; Livshits, Benedikt, Polutoraglazyi strelets: Stikhotvoreniia,perevody,vospominaniia (Leningrad, 1989), 107 Google Scholar. La Prose du Transsibérien is frequently cited as an important intertext for Russian futurist experimentation, e.g., Janecek, Gerald, The Look of Russian Literature: Avant-Garde Visual Experiments, 1900-1930 (Princeton, 1984), 20–21 Google Scholar; Markov, Vladimir, Russian Futurism: A History (Berkeley, 1968), 156–57Google Scholar; Kantor-Gukovskaia, A., “‘Simul’tannaia kniga’ Soni Delone-Terk i Bleza Sandrara (K voprosu o frantsuzsko-russkikh khudozhestvennykh sviaziakh),” in Kantor-Gukovskaia, A. S., Mezentseva, Ch. A., and Rakova, A. L., eds., Zapadnoevropeiskaia grafika XV-XX vekov: Sborník statei (Leningrad, 1985), 132–44Google Scholar. Even disregarding direct knowledge or influence, Cendrars’s poetry is “especially close to the stylistic system of the young Mayakovsky,” whom Tret’ iakov befriended in 1913 and whose early work Tret’ iakov cites as a decisive influence on his poetic development. Khardzhiev, “Poeziia i zhivopis’,” 66; Tret’iakov, Sergei, “Biografila moego stikha,” in 15 let russkogo futurizma: Materiály i kommentarii (Moscow, 1928), 54 Google Scholar.

60. Cendrars emphasized the text’s physical extensiveness: “this book is two meters long! And ... the edition attains the height of the Eiffel Tower!” Cendrars, Blaise, “The Prose of the Trans-Siberian and of the Little Jeanne of France (An Article Which Blaise Cendrars Wrote for Der Sturm , No. 184-185, Berlin, November 1913),” trans. Kaplan, Roger, Chicago Review 24, no. 3 (1972): 3-4Google Scholar.

61. Cendrars, Blaise, La Prose du Transsibérien et de la Petite Jehanne de France, illustrated by Delaunay-Terk, Sonia (Paris, 1913)Google Scholar; translation adapted from Cendrars, Blaise, Selected Writings, trans. Albert, Walter (New York, 1966), 67–99 Google Scholar.

62. Tret’iakov, “Biografila moego stikha,” 56.

63. In 1930, Eisenstein sought the rights to produce a film based on Cendrars’s novel L’Or, which had appeared in Russian translation in 1926. Bochner, Jay, Blaise Cendrars: Discovery and Re-Creation (Toronto, 1978), 73 Google Scholar. The resulting film script is notable for taking “as many... geographical liberties as Cendrars did.” Richardson, William, “Eisenstein and California: The ‘Sutter’s Gold’ Episode,” California History 59, no. 3 (1980): 196 CrossRefGoogle Scholar.

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65. Francois, and Berge, André, “Interview de Blaise Cendrars sur le cinema,” Cahiers du mois, 16-17 (1925): 139 Google Scholar. Mayakovsky’s 1913 poem “Adishche goroda” contains “an allusion to the famous moon image from Le Voyage dans la lune.” Tsivian, Yuri, “Méliès in Russia: A Reception Study,” in Usai, Paolo Cherchi, ed., A Trip to the Movies: Georges Méliès, Filmmaker and Magician (18611938) (Pordenone, 1991), 125 Google Scholar. Tret’iakov first came under the influence of futurism through his 1913 encounter with Maiakovskii’s poetry and so was probably aware of the allusion and the stylistic association between Méliès and futurism. Tret’iakov, “Biografila moego stikha,” 53-54.

66. Compare Paul-Louis Couchoud, who cited Japan’s defeat of a European power, transmitted “throughout the world” by “the telegraph” and “the daily paper,” as transforming global space: “there was formerly a terrifying distance; there is to-day a nearness no less terrifying.” Couchoud found a form commensurate to this new spatial condensation in the haiku, which he explicitly associated with the Japanese journalists who reported on the war with Russia. Couchoud, Paul-Louis, Japanese Impressions, trans. Rumsey, Frances (London, 1921), 7-10Google Scholar, 38.

67. Tret’iakov, Sergei, “Skvoz’ neprotertye ochki: Putevka,” Novyi Lef 9 (1928): 20–24 Google Scholar; Tret’iakov, Sergei, “Skvoz’ neprotertye ochki: Putevka,” in Chuzhak, N. F., ed., Literatura fakta: Pervyi sbornik materialov rabotnikov LEFa (1929; Munich, 1972), 227-33Google Scholar; Tret’iakov, Sergei, Vyzov: Kolkhoznye ocherki (Moscow, 1930), 7–16 Google Scholar.

68. Lenoe, Closer to the Masses, 235-36.

69. Tret’iakov, “Skvoz’ neprotertye ochki” (1929), 227.

70. The idiom was used explicitly in this way by Nikolai Ekk in the title of his 1931 film, Putevka vzhizn’ (Road to Life), the first Soviet sound feature, which similarly conflates progress with transportation technology, in this case a railroad linking commune and town.

71. Tret’iakov, Vyzov, 7-8.

72. Marinetti, F. T., Manifesto tecnico della letteratura futurista (Milan, 1912)Google Scholar, in his Let’s Murder the Moonshine, ed. and trans. R. W. Flint (Los Angeles, 1991), 92.

73. Tret’iakov, Vyzov, 10.

74. Ibid., 13.

75. Ibid., 15.

76. Tret’iakov, “Skvoz’ neprotertye ochki” (1928), 24.

77. Compare the English “country,” which can mean a “nation” or a “part of a ‘land,’” a “whole society or its rural area.” Williams, Raymond, The Country and the City (Oxford, 1973), 1 Google Scholar. Tret’iakov’s use of the word zemlia taps into the modernization rhetoric of the 1920s and the First Five-Year Plan, according to which “the Soviet territory (the earth itself) was the rich raw material out of which a powerful state was to be moulded.” Widdis, Visions of a New Land, 68.

78. Rather than simply stressing the visual, as Dickerman reads the conclusion of “Through Unpolished Glasses,” Tret’iakov’s wordplay emphasizes the interplay between the visual and the journalistic jottings of the ocherk genre. Dickerman, “The Fact and the Photograph,” 145. Just as the impulse to “kodak” everything produces text in “Moscow-Peking,” Tret’iakov’s work as a photographer, exemplified by the images published alongside his ocherki in Vyzov, provided him with a “visual field notebook that he deemed essential to his literary work.” Wolf, Erika, “The Author as Photographer: Tret’iakov’s, Erenburg’s, and II’f’s Images of the West,” Configurations 18, no. 3 (2010): 388 CrossRefGoogle Scholar.

79. Ram, Imperial Sublime, 5.

80. Tolstoi, Lev, Voina i mir, vol. 4 (Moscow, 1968), 221 Google Scholar.

81. Tret’iakov, Vyzov, 132-33.

82. Far from rejecting the bird’s eye view, as Widdis claims of “Through Unpolished Glasses,” Tret’iakov participates in a broader shift in the Soviet spatial imaginary from “a horizontal, physical experience of space” (frequently, as in “Moscow-Peking,” associated with the train) to “the controlling, panoptie vision of the aerial shot” that typified High Stalinism. Widdis, Visions of a New Land, 123. Tret’iakov’s writing reveals the coexistence of both spatial imaginarles in the newspaper and in the related conflation of land, script, and page.

83. Tret’iakov, Vyzov, 146.

84. Ibid., 258.

85. Tret’iakov, Sergei, “Evoliutsiia zhanra,” Nashi dostizheniia 7-8 (1934): 160-62Google Scholar. Tret’iakov reiterates the newspaper’s capacity to reach every “corner” of the Soviet Union, in Tretjakov, Sergej, Die Arbeit des Schriftstellers: Aufsätze Reportagen Portais, ed. Boehncke, Heiner (Hamburg, 1972), 100 Google Scholar.

86. Wolfe, Thomas C., Governing Soviet Journalism: The Press and the Socialist Person after Stalin (Bloomington, 2005), 167 Google Scholar; Lenoe, Closer to the Masses, 52.

87. Prigov gives elaborate instructions for the creation of wall-hung work through the arrangement of smaller sheets in the Dmitrii Prigov Papers, A-Ya Archive, Zimmerli Art Museum, Rutgers University, 071.001.049.01-35.

88. Wolfe, Governing Soviet Journalism, 165.

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93. Benjamin, Selected Writings, 30.

94. “Zaiavlenie TsK KPSS o polozhenii v respublikakh Sovetskoi Pribaltiki,” Pravda, August 27,1989.

95. Ugolok imeni V. I. Ul’ianova-Lenina (Moscow, 1923).

96. Walter Benjamin in “Moscow Diary” (1927) describes how “every Lenin niche has its wall newspaper.” Benjamin, Selected Writings, 40.

97. Clark, Moscow, 34, 2.

98. Prigov’s post-Soviet work frequently explores what he saw as the “complete disappearance of Russian literature as a significant sociocultural phenomenon” and the dominant influence of audiovisual culture. Beliaeva-Konegen, Svetlana and Prigov, Dmitrii, “Krepkogo vam zdorov’ia, gospoda literatory,” Strelets 70, no. 3 (1992): 209 Google Scholar; Prigov, Dmitrii, “Uteshaet li nas eto ponímanie?,” Novoe literaturnoe obozrenie 62 (2003): 391 Google Scholar. See also Edmond, Jacob, A Common Strangeness New York, 2012), 151-61CrossRefGoogle Scholar. Debray also links the demise of socialism to the decline of print culture in “Socialism,” esp. 6, 19-20, 27.

99. Around this time, Prigov became involved in producing online news, contributing a regular column to the political news site http://Polit.ru from early 2005 until his death. He published a reworking of these columns interspersed with poems in Raznoobrazie vsego (Moscow, 2007).

100. Clark, Moscow, 276-77, 286-87.

101. Clark, Moscow, 291.

102. Dmitrii Prigov, “Iz zhizni installiatsii,” Gif, June 18, 2004, at http://www.gif.ru/persona/prigov (last accessed January 29, 2016). Compare the mantra-like repetition of the word “Rossiia”in Prigov’s art video Russiia(2004), at http://www.youtube.com/watch?v=p28B67twgwg (last accessed January 29,2016).

103. In 2001, critics already noted that “the balance between state media and private media has become immensely skewed in favor of the state” and “there are real risks in going too far in criticizing the government.” Lipman, Masha and McFaul, Michael, “‘Managed Democracy’ in Russia: Putin and the Press,” The Harvard International Journal of Press/Politics 6, no. 3 (June 2001): 124 CrossRefGoogle Scholar. The following years saw newspapers generally “return ... to simple information rather than challenging news and investigative journalism.” Beumers, Birgit, Hutchings, Stephen, and Rulyov, Natalia, introduction to Birgit Beumers, Hutchings, Stephen, and Rulyov, Natalia, eds., The Post-Soviet Russian Media: Conflicting Signals (London, 2009), 21–22 Google Scholar.

104. Sergei Khachaturov, “On sdelal stavku na nichto,” Vremia novostei, June 21, 2004, at http://www.vremya.ru/2004/105/10/101025.html (last accessed January 29,2016).

105. Fredric Jameson, “Postmodernism; or, The Cultural Logic of Late Capitalism,” New Left Review 1/146 (July-August 1984): 80, 83.

106. Jameson, “Postmodernism,” 80.

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