 The ways that the phenomenological turn to the body becomes increasingly important in Beauvoir’s work, and the ways that this turn heightens Beauvoir’s sensitivity to the materialities of our situated freedom and to the power of the category of the Other, may be traced in Beauvoir’s attention to the question of human finitude. This question is raised early in her 1946 novel, All Men Are Mortal, the story of Fosca, a man who chooses to cheat death. His desire for immortality, however, is driven by his desire to realize the abstract ideal of humanism. Fosca does not embrace immortality to escape the ambiguities of the flesh and embodiment. His decision is motivated by his desire to save the world. He believes that time is his enemy so long as his time is limited. He believes that with sufficient time he can take the humanist a project, bring it to closure and secure it from failure. 