Rémi Brague’s Kingdom of Man: Genesis and Failure of the Modern Project (2018) offers a lineage of, and a judgment on, “progress,” which, central to modernity, conceives itself as, precisely, a project. This word project figures importantly in Brague’s exposition. Brague (born 1947) distinguishes on the one hand between a task, a term or family of terms that he traces back to antiquity, and, on the other, a project, a term or family of terms that emerges with the so-called Enlightenment, beginning in the Seventeenth Century. (Brague translates from Greek, Latin, and various medieval and modern languages into French, and his translator, Paul Seaton, from Brague’s French into English, but readers may take for granted a thoroughness of lexical rigor across languages.) Having drawn Adam from the soil and Eve from Adam’s rib, God tasks the newly mated couple, and through them the whole of humanity, with dominion over nature, or stewardship, as some versions put it. Presumably although perhaps awkwardly one might refuse a task. A degree of voluntarism attaches itself to the concept. At the same time, the subject of the task undertakes it out of a sense of reciprocity or mutuality and in the trust that fulfilling the commission will sustain an ongoing relationship that benefits both parties – the tasker and the taskee – in the long run. A task is in the order of things. A project, by contrast, arises from a sense of urgency or panic. The discovery of a lack provokes a sudden resolution that the lack be made good as swiftly as possible. A project addresses a perceived deficiency by invoking a mandate for immediate action. Brague calls attention to the etymological basis of the word: Pro- (“forward”) and jacere (“to throw”), in Latin. Something ballistic and aggressive adheres to a project, which resembles a military campaign. Brague indeed invokes Napoleon’s campaigns, ultimately vain but hugely destructive, as instances of the generic project.