Surveying scientists' and philosophers' ideas about the universe over the past twenty-five centuries, a prominent physicist plumbs the relationship between science and mythology, showing how recent theories of the universe's origin recall ancient creation myths.

Available again, with a new preface, a physicist's "exceptionally clear summary of 2,500 years of science and a fascinating account of the ways in which it often does intersect with spiritual beliefs" --Kirkus Reviews

Why discovering the limits to science may be the most powerful discovery of allHow much can we know about the world? In this book, physicist Marcelo Gleiser traces our search for answers to the most fundamental questions of existence, the origin of the universe, the nature of reality, and the limits of knowledge. In so doing, he reaches a provocative conclusion: science, like religion, is fundamentally limited as a tool for understanding the world. As science and its philosophical interpretations advance, we face the unsettling recognition of how much we don't know. Gleiser shows that by aband.

This is an account of the essential aspects of the new physics for those with little or no knowledge of mathematics or science. It describes current theories of quantum mechanics, Einstein's special and general theories of relativity and other speculations, alluding throughout to parallels with modern psychology and metaphorical abstractions to Buddhism and Taoism. The author has also written "The Seat of the Soul".

For millennia, shamans and philosophers, believers and nonbelievers, artists and scientists have tried to make sense of our existence by suggesting that everything is connected, that a mysterious Oneness binds us to everything else. People go to temples, churches, mosques, and synagogues to pray to their divine incarnation of Oneness. Following a surprisingly similar notion, scientists have long asserted that under Nature’s apparent complexity there is a simpler underlying reality. In its modern incarnation, this Theory of Everything would unite the physical laws governing very large bodies (Einstein’s theory of relativity) and those governing tiny ones (quantum mechanics) into a single framework. But despite the brave efforts of many powerful minds, the Theory of Everything remains elusive. It turns out that the universe is not elegant. It is gloriously messy. Overturning more than twenty-five centuries of scientific thought, award-winning physicist Marcelo Gleiser argues that this quest for a Theory of Everything is fundamentally misguided, and he explains the volcanic implications this ideological shift has for humankind. All the evidence points to a scenario in which everything emerges from fundamental imperfections, primordial asymmetries in matter and time, cataclysmic accidents in Earth’s early life, and duplication errors in the genetic code. Imbalance spurs creation. Without asymmetries and imperfections, the universe would be filled with nothing but smooth radiation. A Tear at the Edge of Creation calls for nothing less than a new "humancentrism" to reflect our position in the universal order. All life, but intelligent life in particular, is a rare and precious accident. Our presence here has no meaning outside of itself, but it does have meaning. The unplanned complexity of humankind is all the more beautiful for its improbability. It’s time for science to let go of the old aesthetic that labels perfection beautiful and holds that "beauty is truth." It’s time to look at the evidence without centuries of monotheistic baggage. In this lucid, down-to-earth narrative, Gleiser walks us through the basic and cutting-edge science that fueled his own transformation from unifier to doubter—a fascinating scientific quest that led him to a new understanding of what it is to be human.

"Personal and engaging, The Simple Beauty of the Unexpected is a scientist's tribute to nature, an affirmation of humanity's deep connection with and debt to Earth, and an exploration of the meaning of existence, from atom to trout to cosmos"--

“Ursula Le Guin at her best . . . This is an important collection of eloquent, elegant pieces by one of our most acclaimed contemporary writers.” —Elizabeth Hand, The Washington Post Book World “I have decided that the trouble with print is, it never changes its mind,” writes Ursula K. Le Guin in her introduction to Dancing at the Edge of the World. But she has, and here is the record of that change in the decade since the publication of her last nonfiction collection, The Language of the Night. And what a mind—strong, supple, disciplined, playful, ranging over the whole field of its concerns, from modern literature to menopause, from utopian thought to rodeos, with an eloquence, wit, and precision that makes for exhilarating reading. “If you are tired of being able to predict what a writer will say next, if you are bored stiff with minimalism, if you want excess and risk and intelligence and pure orneriness, try Le Guin.” —Mary Mackey, San Francisco Chronicle