Could it be the case that the Western Buddhists have lost touch with the radical questioning and the transformative power of transcendence? Has the focus on meditation, the mimicking of South Asian monastics with the necessity of engaging in long and austere silent retreats, and the dominant materialist view that Buddhism is a “science of mind” created an ecology that is elitist and exclusionary? Will worshipping at the secular alter with its fMRI brain scans satisfy our yearnings for transcendence? Is stress-reduction, neuro self-optimization and vague notions of individualistic ‘happiness’ and so-called “human flourishing” among the Secular Buddhist all we can expect from Buddhism modernism?
What if -- rather than science and psychology -- that the arts may a more fruitful path and gateway for us in the West to engage with the Transcendent, to rediscover our true nature, or what Paul Tillich called our “infinite passions” and the “joy of creative communion”? Rather than celebrating the mainstreaming of mindfulness as it has accommodated itself to the needs of capitalist ideology, can we engage in a politics of refusal and reclaim Buddhism as a countercultural force in the modern world?
These thought-provoking questions are the subject of Curtis White’s new book, Transcendent: Art and Dharma in a Time of Collapse, published by Melville House. In this episode, Curtis White dives deep into these questions, showing us why the 60’s counter-culture was so open and receptive to Buddhism and it felt so familiar as if something lost was being returned to us. Curtis argues that our own native traditions – from the English Romantic poets to the American transcendentalists – were forms of social transcendence that opposed the alienating effects of rationalism, science and industry – social movements that were not only aesthetic, but liberative. Our conversation was wide-ranging – from trashing the Davos crowd to appreciating Blues music, to the wrathful compassion and performative enactment of comedy embodied in George Carlin, to the spiritual transcendence of a Vermeer painting – White shows us how our everyday world is where transcendence is always available and that we can play to be free and how art can model that freedom.
Curtis White spent most of his career has writing experimental fiction, and was formerly a Professor of English at Illinois State University. He is the author of some 16 books, including such titles as Living in a World That Can’t Be Fixed, The Science Delusion, We, Robots: Staying Human in the Age of Big Data. His essays have appeared in Harper’s Magazine, Salon, the Village Voice, Tricycle, Orion, and In These Times. His newest book, Transcendent: Art and Dharma in a Time of Collapse was published by Melville House, 2023.