Transcendental Science Fiction and the magic of contrast
‘..that quest for new and relevant cultural expressions of the Dharma is of the foremost importance if Buddhism is to have a major impact on the world.’
Subhuti, A Buddhist Manifesto.
I came to Buddhism through the catalyst of Speculative Fiction (SF), which includes, amongst others, the science fiction and fantasy genres.
At the root of Speculative Fiction I saw a spiritual urge; the desire for transcendence. In it I recognised what could almost be seen as a new spiritual movement.
I place the origins of Science Fiction in the nineteenth century with the novel Frankenstein by Mary Shelley, as does Brian Aldiss in his book Billion Year Spree. I don’t think it’s a coincidence that Science Fiction arrived around the time Christianity was weakening in the face of Scientism. I think SF might be a new channel for our ‘spiritual’ urge; expressed and explored in new ways. And so I like to refer to Transcendental Science Fiction, or just Transcendental Fiction.
Many have cited films like 2001: A Space Odyssey and Star Wars for awakening their spiritual lives. I wondered if SF could be a new ethnic religion out of which could spark the transcendental, though few science fiction authors would consider their writing to be at all religious.
SF seems often to be about finding something more to life, about exploring the beyond, or exploring the unknown. Buddhism also has those concerns. Though I’m certainly not equating Buddhism and SF, I think I can show that they sometimes share a drive towards liberation from unsatisfactoriness and this at least can be a starting point for something.
I also discovered that both Buddhism and SF employ the use of contrast to communicate something higher. Early in my quest I found that contrast — particularly of the real and the unreal — always seemed to be at the heart of SF. I then discovered the Perfection of Wisdom literature and found that this was about contrast too; in it was a paradox which arose from the reconciling of the mundane and the transcendental. This felt similar to the use of contrast I had seen in SF.
I also found that Buddhist sutra and SF both make use of layered contrast as well as paradox; this encourages our mind to ascend into higher levels of perception and insight. One theme in Buddhist sutras is the ideal of the Bodhisattva: a being who strives for enlightenment in order to benefit all beings. But in the Perfection of Wisdom in 8000 Lines Subhuti says ‘I see no Bodhisattva, and no Perfect Wisdom; whom is there to teach with what Perfect Wisdom?’ We are left with a paradox.
In the Science Fiction story Star Maker Olaf Stapleton shows us the evolution of communal mind as individuals, then whole worlds, join telepathically. The ‘minds’ of whole galaxies eventually join to form one cosmic mind; the perfected awakened cosmos itself, which is finally able to reach out to and find the elusive star maker, the creator of all things, and yet is rejected by him. This uses layered contrast, providing us with successive levels which are built upon each other, in order to reach an otherwise impossible standpoint.
Paradox in SF is like a koan, and usually comes in the form of a co-existence of the real with the unreal. For example in the Planet of the Apes when the whole film builds up to a final climax as this world of talking apes, which we had perceived to be unreal, is shown to be our own world. This challenges the boundaries of our perception of reality; which is already faulty, because we are still unenlightened beings, and so this can be a liberating experience.
In fact all our mundane perception is only made possible through contrast – for example, you can’t have a ‘large’ without having a ‘small’. These contrasts, used in creating art and literature, are also the foundation of our unenlightened perception. It is because of this that all reconciliation of dichotomies may lead us to insight into the truths of Buddhism; we live in a house of mirrors with no inherent nature. It is because of this that contrast and paradox in any literature might lead us to insight into the illusory nature of our world.
I tend to use the term “transcendental” in two senses; more generally as transcending any false limiting of self; for example, being liberated from thinking we are the centre of the universe, or from the view that we could never achieve anything important. But more specifically I use it as the complete seeing through of the illusory view of our world; seeing through the separation into selves and bifurcation of subject and object. These two levels of transcendence are sometimes described as insight with a small i and Insight with a big I. And this term also distinguishes it from Mundane Science Fiction, which limits itself to that which is encompassed purely by the rational (or scientific).
My teacher, Urgyen Sangarakshita, was I believe the first to coin the term “Transcendental Science Fiction,” and it’s he to whom I dedicate my first attempt. I have recently published this through Inklestudios. It’s called The Prison, (click here for a UK version), and it’s now available on Amazon Kindle. You could try it and see if you think I’ve been successful.
The full article on Transcendental Science Fiction is available as a Kindle download here in the US, or here for a UK Kindle version, and free on my blog here. I also have a Facebook group dedicated to Transcendental Fiction.