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Recent developments in a range of disciplines, from high-energy physics to biogenetic anthropology, suggest a stunningly beautiful model of the cosmos. In A Blessed Rage for Order, Alexander Argyros explores the implications these discoveries might hold for literary criticism, for art, and, more broadly, for our understanding of the place of human culture in cosmic evolution.Argyros challenges deconstructionist paradigms, basing his own model largely on developing chaos theory, in combination with J. T. Graser's theory of evolution. He argues that the kind of dualism that postulates an unbreachable gap between human culture and prehuman nature must be replaced by a view of the universe as a communicative, dynamic, and evolving system: a model that allows the natural and cultural worlds to exist in an endlessly innovative continuum. Argyros presents a strong argument that although socio-institutional contexts play a large role in defining and constituting the world of human beings, other contexts must also be taken into account.The study draws on the work of E. O. Wilson, Douglas Hofstadter, Ilya Prigogine, and Karl Popper, among others, in proposing a new, interdisciplinary chaotic paradigm that Argyros believes can reaffirm such concepts as universality, identity, meaning, truth, and beauty.

"Juravich argues that problems in declining American productivity and competitiveness-often and conveniently blamed on workers-can be placed principally in the laps of management." --Socialist Review "[Juravich] provides valuable insights into the operations of a small manufacturing firm, emphasizing the role of worker ‘tradecraft' practiced on the job.... Of greatest interest to institutions with strong sociology/industrial psychology holdings serving upper-division and graduate students, but also relevant for libraries serving vocational and technical students." --Choice From his well-placed vantage point, Juravich has produced an interesting and valuable ethnography of factory life in the industrial periphery.... I recommend this book to those interested in the sociology of work. It is written clearly and straightforwardly, and it is well suited for undergraduate or graduate courses. --Contemporary Sociology

Facing real threats of extinction and futurelessness, a search for new ground on which to build projects toward emancipation

Chaos and the Automaton is the first volume to collect Franco “Bifo” Berardi’s extensive collaboration with e-flux, which has become one of his primary English-language publishers since 2010. The selection of key essays collected here presents Berardi’s prescient interventions into more than a decade of social turmoil, offering a tour through the cataclysms that have rocked the foundations of the global order since the 2008 financial crisis, from European austerity, Occupy, the Arab Spring, and Anonymous through the ascendance of Pope Francis, Brexit, Covid-19, the Trump–Biden sequence, the U.S. Capitol riots, and the Russian invasion of Ukraine—as well as bizarre new cultural occurrences that were consequences.

Berardi draws not only from current events but also movements and figures at the firmament of his thought, such as Guattari, Pasolini, and Italian street art of the 1970s. His essays represent a sustained and singular effort to reveal the psychic and material underpinnings of a society in which history came roaring back at the same moment as any vision of a sustainable future receded from sight. “I know that it is dangerous to write in simultaneity with events that nobody can precisely foresee, that can only be vaguely intuited,” he wrote on the eve of the 2020 American elections, “but the only way to imagine something about the becoming of the psycho-sphere is to run ahead of the dynamics of the disaster.”

Fifteen essays that offer inspiration, encouragement, and advice from accomplished writers with ADHD.

A rising number of ADHD diagnoses, particularly among adults, is not only confirmed by medical studies and mainstream reporting but also borne out across social media and elsewhere among people who’d been privately coping with persistent, often inexpressible challenges. Many of the contributors to this collection can attest to how a later-in-life diagnosis radically demystified the patterns, impulses, and impasses that had affected their lives and their writing. The essays in Chaos, Creativity, Completion reflect the ways poets, novelists, memoirists, filmmakers, and others have come to understand and engage the relationship between their ADHD and their creative tool kits. 

These essays consider how writers can embrace rather than mask their neurodifference, offering multiple ways of finding writing practices that work for ADHD brains—including techniques that often look quite different from traditional writing instruction. Some essays are analytical, some are reflective, and some are delightfully weird, employing humor, research, personal narrative, deep description, close reading, and experimental approaches to genre and form. Each essay also concludes with a writing prompt, providing readers with opportunities to expand their own creative toolkits. Finally, the book includes an interview with David Kessler, a licensed therapist and nationally recognized ADHD advocate, and an appendix with a glossary of helpful terms and a list of recommended resources, from books and organizations to apps and gadgets.

Just as the experience of ADHD varies from person to person, so, too, do the ways those experiences can be expressed. Chaos, Creativity, Completion is a kaleidoscopic, adventurous series of takes on what writing looks like today.

Alurista. Gary Soto. Bernice Zamora. José Montoya. These names, luminous to some, remain unknown to those who have not yet discovered the rich variety of late twentieth century Chicano poetry.

With the flowering of the Chicano Movement in the mid-1960s came not only increased political awareness for many Mexican Americans but also a body of fine creative writing. Now the major voices of Chicano literature have begun to reach the wider audience they deserve. Bruce-Novoa's Chicano Poetry: A Response to Chaos—the first booklength critical study of Chicano poetry—examines the most significant works of a body of literature that has grown dramatically in size and importance in less than two decades.

Here are insightful new readings of the major writings of Abelardo Delgado, Sergio Elizondo, Rodolfo Gonzales, Miguel Méndez, J. L. Navarro, Raúl Salinas, Ricardo Sánchez, and Tino Villanueva, as well as Alurista, Soto, Zamora, and Montoya. Close textual analyses of such important works as I Am Joaquín, Restless Serpents, and Floricanto en Aztlán enrich and deepen our understanding of their imagery, themes, structure, and meaning.

Bruce-Novoa argues that Chicano poetry responds to the threat of loss, whether of hero, barrio, family, or tradition. Thus José Montoya elegizes a dead Pachuco in "El Louie," and Raúl Salinas laments the disappearance of a barrio in "A Trip through the Mind Jail." But this elegy at the heart of Chicano poetry is both lament and celebration, for it expresses the group's continuing vitality and strength.

Common to twentieth-century poetry is the preoccupation with time, death, and alienation, and the work of Chicano poets—sometimes seen as outside the traditions of world literature—shares these concerns. Bruce-Novoa brilliantly defines both the unique and the universal in Chicano poetry.

At the heart of Israel Rosenfield and Edward Ziff ’s inquiry is the nature of brain function. The sensory world is disordered and chaotic. There are no labels for tables, chairs, or airplanes, and indeed there are no colors, sounds, or smells, only photons, airwaves, odorant molecules, and so on, which are unlabeled and impossible to “know.”
To make sense of this chaos, the brain must simplify the sensory inputs by creating, or inventing, the colors, sounds, smells, forms, and faces that are perceived in consciousness, which become a proxy for the chaotic world in which we live. The brain’s ability to generalize and categorize these invented perceptions, and to relate them to one another, enables it to form memories, which are not fixed representations of things past, but a dynamic and malleable function of the brain that is relational.
When formation of these worlds breaks down, neurological differences arise. Although the mechanisms that transform sensory chaos into the simplified perceptions experienced in consciousness remain elusive, Rosenfield and Ziff relate what they have learned by means of imaging brain activity and by mapping the neural circuits that comprise memory traces. In addition, the authors offer perspectives for future studies of consciousness.