In a characteristically explosive barrage, Ljubljana’s most famous philosopher takes a passionate stance on the war in Ukraine, surveys the latest Hollywood blockbusters, and delivers detonations into a range of contemporary issues, from sexual politics in India to the prospects for a new Cold War.  Ever attentive to moments where the bizarre and the epic join forces, among the questions Žižek considers here are: Is the giant orgy, planned to take place in Ukraine in the event of a Russian nuclear attack, really all that morbid? And what should society do, whether on the big screen or the battlefield, in preparation for the end of the world? Agree with him or not, Žižek rarely fails to provoke in a productive fashion. By examining matters through a lens that is bold and original, and often joyfully outlandish, Žižek helps us to better grasp a world in which, increasingly, the dominant motif is one of madness.

We hear all the time that we're moments from doomsday. Around us, crises interlock and escalate, threatening our collective survival: Russia's invasion of Ukraine, with its rising risk of nuclear warfare, is taking place against a backdrop of global warming, ecological breakdown, and widespread social and economic unrest. Protestors and politicians repeatedly call for action, but still we continue to drift towards disaster. We need to do something. But what if the only way for us to prevent catastrophe is to assume that it has already happened-to accept that we're already five minutes past zero hour? Too Late to Awaken sees Slavoj Žižek forge a vital new space for a radical emancipatory politics that could avert our course to self-destruction. He illuminates why the liberal Left has so far failed to offer this alternative, and exposes the insidious propagandism of the fascist Right, which has appropriated and manipulated once-progressive ideas. Pithy, urgent, gutting and witty, Žižek's diagnosis reveals our current geopolitical nightmare in a startling new light, and shows how, in order to change our future, we must first focus on changing the past.

We are all afraid that new dangers pose a threat to our hard-won freedoms, so what deserves attention is precisely the notion of freedom. The concept of freedom is deceptively simple. We think we understand it, but the moment we try and define it we encounter contradictions. In this new philosophical exploration, Slavoj Žižek argues that the experience of true, radical freedom is transient and fragile. Countering the idea of libertarian individualism, Žižek draws on philosophers Hegel, Kierkegaard and Heidegger, as well as the work of Kandinsky and Agatha Christie to examine the many facets of freedom and what we can learn from each of them. Today, with the latest advances in digital control, our social activity can be controlled and regulated to such a degree that the liberal notion of a free individual becomes obsolete and even meaningless. How will we be obliged to reinvent (or limit) the contours of our freedom? Tracing its connection to everything from capitalism and war to the state and environmental breakdown, Žižek takes us on an illuminating and entertaining journey that shows how a deeper understanding of freedom can offer hope in dark times.

This is a varied collection of thought-provoking essays, bringing together a number of viewpoints from around the globe and from internationally reknowned academics.

Contemporary life is defined by excess. There must always be more, there is never enough. We need a surplus to what we need to be able to truly enjoy what we have. Slavoj Žižek’s guide to surplus (and why it’s enjoyable) begins by arguing that what is surplus to our needs is by its very nature unsubstantial and unnecessary. But, perversely, without this surplus, we wouldn’t be able to enjoy, what is substantial and necessary. Indeed, without the surplus we wouldn’t be able to identify what was the perfect amount. Is there any escape from the vicious cycle of surplus enjoyment or are we forever doomed to simply want more? Engaging with everything from The Joker film to pop songs and Thomas Aquinas to the history of pandemics, Žižek argues that recognising the society of enjoyment we live in for what it is can provide an explanation for the political impasses in which we find ourselves today. And if we begin, even a little bit, to recognise that the nuggets of ‘enjoyment’ we find in excess are as flimsy and futile, might we find a way out?

In Zizek's long-awaited magnum opus, he theorizes the "parallax gap" in the ontological, the scientific, and the political-and rehabilitates dialectical materialism. The Parallax View is Slavoj Zizek's most substantial theoretical work to appear in many years; Zizek himself describes it as his magnum opus. Parallax can be defined as the apparent displacement of an object, caused by a change in observational position. Zizek is interested in the "parallax gap" separating two points between which no synthesis or mediation is possible, linked by an "impossible short circuit" of levels that can never meet. From this consideration of parallax, Zizek begins a rehabilitation of dialectical materialism. Modes of parallax can be seen in different domains of today's theory, from the wave-particle duality in quantum physics to the parallax of the unconscious in Freudian psychoanalysis between interpretations of the formation of the unconscious and theories of drives. In The Parallax View, Zizek, with his usual astonishing erudition, focuses on three main modes of parallax: the ontological difference, the ultimate parallax that conditions our very access to reality; the scientific parallax, the irreducible gap between the phenomenal experience of reality and its scientific explanation, which reaches its apogee in today's brain sciences (according to which "nobody is home" in the skull, just stacks of brain meat-a condition Zizek calls "the unbearable lightness of being no one"); and the political parallax, the social antagonism that allows for no common ground. Between his discussions of these three modes, Zizek offers interludes that deal with more specific topics-including an ethical act in a novel by Henry James and anti-anti-Semitism. The Parallax View not only expands Zizek's Lacanian-Hegelian approach to new domains (notably cognitive brain sciences) but also provides the systematic exposition of the conceptual framework that underlies his entire work. Philosophical and theological analysis, detailed readings of literature, cinema, and music coexist with lively anecdotes and obscene jokes.

A militant Marxist atheist and a "Radical Orthodox" Christian theologian square off on everything from the meaning of theology and Christ to the war machine of corporate mafia. "What matters is not so much that Zizek is endorsing a demythologized, disenchanted Christianity without transcendence, as that he is offering in the end (despite what he sometimes claims) a heterodox version of Christian belief."-John Milbank "To put it even more bluntly, my claim is that it is Milbank who is effectively guilty of heterodoxy, ultimately of a regression to paganism: in my atheism, I am more Christian than Milbank."-Slavoj Zizek In this corner, philosopher Slavoj Zizek, a militant atheist who represents the critical-materialist stance against religion's illusions; in the other corner, "Radical Orthodox" theologian John Milbank, an influential and provocative thinker who argues that theology is the only foundation upon which knowledge, politics, and ethics can stand. In The Monstrosity of Christ, Zizek and Milbank go head to head for three rounds, employing an impressive arsenal of moves to advance their positions and press their respective advantages. By the closing bell, they have not only proven themselves worthy adversaries, they have shown that faith and reason are not simply and intractably opposed. Zizek has long been interested in the emancipatory potential offered by Christian theology. And Milbank, seeing global capitalism as the new century's greatest ethical challenge, has pushed his own ontology in more political and materialist directions. Their debate in The Monstrosity of Christ concerns the future of religion, secularity, and political hope in light of a monsterful event-God becoming human. For the first time since Zizek's turn toward theology, we have a true debate between an atheist and a theologian about the very meaning of theology, Christ, the Church, the Holy Ghost, Universality, and the foundations of logic. The result goes far beyond the popularized atheist/theist point/counterpoint of recent books by Christopher Hitchens, Richard Dawkins, and others. Zizek begins, and Milbank answers, countering dialectics with "paradox." The debate centers on the nature of and relation between paradox and parallax, between analogy and dialectics, between transcendent glory and liberation. Slavoj Zizek is a philosopher and cultural critic. He has published over thirty books, including Looking Awry, The Puppet and the Dwarf, and The Parallax View (these three published by the MIT Press). John Milbank is an influential Christian theologian and the author of Theology and Social Theory: Beyond Secular Reason and other books. Creston Davis, who conceived of this encounter, studied under both Zizek and Milbank.