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Famously, Freud asserted that the goal of psychoanalysis is to allow patients to love and work unimpeded by the effects of neurotic suffering and its consequent restrictions. A life of common unhappiness was, to him, a desirable outcome. And that may indeed be the case for many; however, analysts have more recently had higher expectations. Some have promoted the notion of increased capacity for creativity and creative living as the desirable analytic objective. From this perspective, effective treatment is associated with a fundamental change in the patient's relationship with both inner and outer worlds, involving the emergence of new and surprising meanings and experiences. Among those promoting creative analysis is Hector Juan Fiorini. In his new book, The Creating Psyche: Theory and Practice of Tertiary Processes, Fiorini, a psychoanalyst and professor of psychology at Buenos Aires University, elaborates Winnicott's ideas of potential space and the “area of cultural development” (1971) and examines the emergence of the conditions for creativity in the clash between the “unformed and empty” primary processes and the “structured, symbolizing” secondary processes. Fiorini posits tertiary processes, neither formal nor formless, in which new organizations, new experiences, can emerge. I will consider here the implications of this idea for artistic creativity and, most important, for the creative potential of analytic treatment. In pursuing this end, I will not do justice to the rich complexity of Fiorini's book. Although his writing style is often overwrought, perhaps overly poetical for a psychoanalytic text, it is worth the trouble to read him carefully and appreciate the aesthetic attitude at the heart of his philosophy of living and creating. At the very least, his rich store of quotes and references is well worth the struggle of engaging and making sense of the book. Perhaps reading Fiorini is an example of his thesis, a provocation, a taste of chaos, and hopefu