Published by Filigranes éditions in 2015, Kourtney Roy’s Enter as fiction gives narrative uncertainty a physical form. Roy is known for displaced self-portraiture and for images poised between the observable world and the fantastical. Here, the title operates less as an instruction than as a condition of looking: each photograph invites entry while withholding a stable account of who is present, what has occurred, or where reality gives way to staging.

The work belongs to a broader project presented elsewhere as large-scale colour photography. Within the book, however, its most consequential feature is the leporello structure. Across 48 pages, the publication unfolds to approximately four metres, replacing the fixed rhythm of conventional page turns with a continuous, extendable sequence. Images may be encountered one fold at a time or considered across a longer field, allowing recurrence, interruption and spatial proximity to participate in the construction of meaning.

That format is particularly apt for Roy’s narrative-led practice. The accordion does not resolve the photographs into a linear story; instead, it makes ambiguity cumulative. The reader moves between individual scenes and the sequence as a whole, repeatedly negotiating the distance between photographic evidence and fictional proposition. The book therefore functions not simply as a container for images, but as an editorial and spatial interpretation of the series.

Issued as a limited edition in French, Enter as fiction deserves attention from collectors interested in the photobook as an autonomous artistic form. Its significance lies not in a documented claim of rarity, but in the close alignment of subject, sequence and construction: Roy’s unstable fictional world is given a format that can expand, contract and be viewed in several ways. The result is a publication whose meaning depends upon handling, duration and arrangement as much as upon any single photograph.