Abstract

Nikolai Fedorov (1829–1903), the progenitor of so-called Russian Cosmism, is an eccentric figure without parallel in the domain of modern thought. His intellectual vision, elaborated across a number of essays and the sprawling unpublished magnum opus written from the 1870s to the 1890s, The Question of Fraternity, attempted a novel theorization of the trajectory, meaning, and telos of the human species through the fulcrum of resurrection. The speculative dimension of Fedorov's cosmist project has garnered the most sustained theoretical interest, but this speculative dimension develops out of a determinate critical diagnosis of the fundamental operations of Western modernity. Reconstructing the elements that make up the diagnostic tendency of Fedorov's project, and then recentering his project around them, allows for the speculative and cosmic elements of his thought to be properly understood. As a result, his project is revealed to be a thinking and acting out of an intimacy with death and with the earth, a thinking and acting grounded in a delegitimating refusal of the colonial, biopolitical, and capitalist foundations of modernity. Only with the delineation of the critical as the internal drive for the cosmically speculative is Fedorov's difference from dominant modes of eco- and geo-constructivist thought sufficiently retained. Our essay pursues this line of thinking to show the decisive significance of Fedorov's critical project, incubated on the margins of Western modernity, for two dominant lines of critical theory—those associated most closely with the names of Karl Marx and Michel Foucault. It does so by reconstructing Fedorov's refusal of the modern biopolitical paradigm, his expansion of the analytics of expropriation, his ambitious reconfiguration of the cartographical imaginary of collective life around the cemetery and the commune, and finally his speculative rewriting of the liturgy as the material enactment of the common task.