Abstract
The article examines Ural industrial essays of the 1920–1930s which appeared as a genre from travel notes and travel essays but almost immediately received a soviet political frame (essays by L. M. Reisner, some publications in the magazine “The Comrade Terenty”). We reveal the leading importance of the industrial essay in the Ural literature of the First Five-Year Plan era. We especially highlight the genre of the essay-portrait the heroes of which are shock workers, leaders of production. We emphasize the combination of documentary optics and the socialist realist canon in the Ural essays of the early 1930s. And we trace the further fate of the genre which gave way to the second half of the 1930s the documentary of geological exploration.
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