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Ecopoetics forms a human expression of the naturecultures that sustain us, enfolding us within an earth that is much more than a mere environment. In consequence, the ecopoet serves as a mediator between the multitudinous voices and lifeforms that take part in the song of the world. Weaving its way into the matter and texts of the world, human language—I argue in the wake of new materialism—provides the measure of and seeks inspiration in the apparent randomness and underlying design motivating the evolution of complex systems in the universe. I interweave approaches originating in Anglophone ecocriticism and ecophilosophy with ecopoetics—as Jonathan Bate and Scott Knickerbocker have defined it—with its close attention paid to the complex, interlaced fabric of the text. Barbara Kingsolver’s ecopoet(h)ics draws from chaos theory, inviting readers to shift interpretative paradigms, moving away from linear, binary grids of logic and reading, toward integrating complex, overlapping systems of meaning. Focusing on Kingsolver’s novel Prodigal Summer (2000), this paper argues that, as Snyder once put it, art is not so much “an imposition of order on chaotic nature, freedom, and chaos;” rather it is “a matter of discovering the grain of things, of uncovering the measured chaos that structures the natural world,” of revealing “the way [wild] phenomena actualize themselves,” including within a wild ecopoetic language. Resumen La ecopoetica constituye una expresion humana de las naturaculturas que nos dan sustento y nos situan en relacion a una tierra entendida como algo mas que un simple medio ambiente. En consecuencia, el ecopoeta funciona como un mediador entre las numerosas voces y formas de vida que configuran la cancion del mundo. Abriendose camino a traves de la materia y los textos, sostengo que el lenguaje humano, visto a partir de los nuevos materialismos, proporciona la medida de y busca inspiracion en la aparente aleatoriedad y el diseno subyacente que motiva la evolucion de los sistemas complejos del universo. Aqui combino diferentes enfoques originados en la ecocritica y la ecofilosofia anglofona con el concepto de ecopoetica (siguiendo la definicion de Jonathan Bate y Scott Knickerbocker) prestando particular atencion al complejo entramado del texto. La ecopoetica de Barbara Kingsolver se basa en la teoria del caos e invita a los lectores a cambiar paradigmas interpretativos, alejandose de las logicas de lectura lineales y binarias, para integrarse dentro de complejos sistemas de significado. Centrandose en la novela  Prodigal Summer  (2000) de Kingsolver, este articulo plantea que, como ha senalado Snyder, el arte reside no tanto en "una imposicion de un orden en la naturaleza caotica, la libertad y el caos, "sino que representa mas bien "una cuestion de descubrir el grano de las cosas, de revelar el caos medido que estructura el mundo natural", mostrando "la forma en que los fenomenos [naturales] se actualizan a si mismos", a partir de la inclusion de un lenguaje ecopoetico salvaje.

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&lt;b&gt;Measured Chaos: EcoPoet(h)ics of the Wild in Barbara Kingsolver’s &lt;i&gt;Prodigal Summer&lt;/i&gt;&lt;/b&gt; // Caos medido: EcoPoética de lo salvaje en &lt;i&gt;Prodigal Summer&lt;/i&gt; de Barbara Kingsolver