Modernism imagined itself to be beyond eschatology, those primitive bedtime stories about the end of the world, the last judgment, or some final act that would settle things as they ultimately should be. Modernism, however, in imagining that it could overcome its Abrahamic heritage, preserved it. Even as it claimed to surrender the idea of a savior, sent from heaven to redeem a fallen world, it relocated this figure again and again in this or that individual, class, or grouping—the enlightened monarch, the universal proletariat, the creative entrepreneur. The “revolutionary subject” is just another messiah born without original sin, in whose name the sinful and the fallen pursue their earthly redemption. In the absence of the savior, the image of the end of the world returns and the apocalypse reigns.