This chapter substantiates ethnographically the claim that the Cuban revolution has a cosmogonic character. With reference to revolutionary discourse, and not least the pronouncements of protagonists such as Fidel Castro and Che Guevara, the chapter’s purpose is to get the conceptual measure of the idea that the revolution’s raison d’etre was to mark a break with the past in order to build a new and better world for Cuba and its people. This includes detailing the manners in which the revolutionary project was pursued in an array of areas, from the role of self-sacrificial violence and the hyperactivity of legal reform in the first years of the revolution, to the sweeping scope of land-reform and the hubristic attempt, in the end of the 1960s, literally to transform nature into culture by rendering the whole of the Cuban rural territory arable. Importantly, each of these historiographic discussions is oriented with reference to the analytical coordinates established by the problem of cosmogony. The upshot is an explicitly morphological conceptualization of the revolutionary project organized around the twin shapes of totality and containment , as well as the caterpillar-like shape of its forward-moving thrusts, configured as an interplay between potential change (meta-change) and its ever-partial realizations. Operating together, these three formal elements (totality, containment and motion) mark out the coordinates for what I call the ‘transcendental’ character of the revolution’s project – its concerted effort to become not just a feature of people’s lives, but their underlying condition of possibility.