Although many artists have experimented with multiple media and genres, Alejandro Jo dorowsky's creative corpus spans an extraordinary range of expressive formats. Through mime, film, comics, theater and novels Jodorowsky narrates an initiatic search for self in a world gone haywire. On the surface, Jodorowsky's works appear vastly different from one another. El low de siete lenguas (1991) forms an expansive counter-epic, satirizing Chile of the 1950s with black humor and slapstick. Las ansias carn?voras de la nada (1991), by contrast, condenses a confu? sing series of oneiric and hallucinatory experiences within a short narrative that is devoid of any historical or even logical anchor. Donde mejor canta un p?jaro (1992) evokes an aesthetic of magical realism, tracing and fictionalizing Jodorowsky's genealogical tree from turn of the century Russia through the Jewish migration to Argentina and leading ultimately to the author's biological conception in Chile. Jodorowsky's early theater, Teatro p?nico (1965), stages dramas of existential stagnation in the tradition of the theater of the absurd. L'incal (1981-89), a six volume comic book of science fiction adventures, juxtaposes episodes of intergalactic warfare with the internal struggle of a detective/protagonist/fool figure. Jodorowsky's most recent book, Sombras al mediod?a (1995), presents 166 microcuentos that foreground and parody the quest for meaning in New Age existence. In spite of the many differences, each of Jodorowsky's works constitutes a metaphysical foray into the confusion of space and subjectivity. Jodorowsky's art, in other words, perpetually explores psychic conundrums that revolve around place and identity. Who am I? Where am I? Where do I come from? Where am I going? These questions, recurring throughout Jodo? rowsky's ?uvre, resonate with the disorientation associated with postmodernism. Instead of constructing a linear narrative Jodorowsky emphasizes flagrantly grotesque and violent cycles. Reading his diverse corpus of texts together, nevertheless, reveals a recursive symmetry on both thematic and structural levels. In this essay I analyze the discursive function of chaos in Jodorowsky's writing within the context of contemporary, postmodern, confusion. Theoretical models of postmodernism, from Baudrillard's hyperreal of electronic simula? tion to Lyotard's crisis of Grand Narratives and Jameson's logic of late capitalism, postula? te an atomizing fragmentation of the traditional notions of space and subjectivity. Theories of postmodernity not only posit a fracturing of the subject in terms of psychic identity, but further? more inhere a distortion, if not dissolution, of traditional spatial, temporal and political configu? rations.