Love of All Wisdom

The most recent book from Donald S. Lopez, Jr., one of the most widely read contemporary American scholars of Buddhism, is entitled Buddhism and Science. Unlike most books with this title, it does not explore similarities or complementarities between Buddhist tradition and the natural sciences. It is instead best described by Lopez’s original intended subtitle: A Historical Critique. Alas, Lopez’s publishers apparently thought this subtitle boring, and therefore required him to replace it; his chosen replacement, A Guide for the Perplexed, is not particularly exciting either, and more importantly makes it impossible for the casual reader to find out the ways that this book is drastically different from all the other books out there with the same title.

I am not here to write about dreadful editorial decisions, however, but rather the content of the book. Lopez undertakes what has become one of the most standard methodologies in the contemporary academic humanities: following Foucault and ultimately Nietzsche, it is typically known as genealogy. One starts with a widely used contemporary concept and goes on to show the history of its usage, in order to create doubts among those who might otherwise use it. This has already been done plenty of times both for the concepts of “Buddhism” and of “science”; Lopez’s project here is instead a genealogy of the joint concept of “Buddhism and science,” the frequent form of inquiry that tries to link the two conceptually or analytically. As is typical for contemporary genealogies ever since Edward Said (though not for Foucault’s own and certainly not Nietzsche’s), Lopez finds the origins of “Buddhism and science” in the colonial nineteenth century. He shows us that claims about Buddhism’s compatibility with science remain remarkably consistent from the late 19th century to the early 21st, even though the science itself has changed drastically.

Now what is the purpose of showing us this point? From Nietzsche onward, the genealogical method has never been neutral. The point has always been to undermine. Lopez doesn’t like “Buddhism and science” any more than Nietzsche liked morality. (continue reading…)

The term “postmodernism” (or “poststructuralism”) is notoriously elusive; it’s sometimes said that if you think you know what it is, you don’t. But that doesn’t stop its practitioners from talking about it, and I don’t think it should stop anyone else either. I will use “postmodernism” to refer to a set of ideas, widely held among academics in the past 30 years, which takes inspiration from Jacques Derrida and Michel Foucault, and denies the worth of claims to truth. One will frequently find postmodernists (John Caputo is one of the more explicit about this) claiming that “the truth is that there is no truth.”

The claim that there is no truth is false. It contains a contradiction that cannot be resolved unless one takes it to mean something very different from what it appears to mean. Nor is this one of that narrow group of paradoxes which could be taken as true on the grounds of Graham Priest’s dialetheism. Priest tries to argue that most of the problems with contradiction stem not from accepting some contradictions, but from accepting all; but if one accepts “there is no truth,” one comes much closer to allowing all contradictions in. Indeed postmodernists often approvingly quote the philosopher of science Paul Feyerabend in telling us that “anything goes.”

It is not true that there is no truth. What is crucial about this and other postmodern claims, however, is that its truth value is not the point. Like Stanley Fish, postmodernists shift our attention away from contradiction and truth entirely, claiming they’re not the important thing. (Caputo at one point approves one of his opponent’s moves because “it drops the stuff about contradiction and actually addresses the issues.”) Drawing on J.L. Austin’s theory of speech acts, postmodernists will argue that the reason to make such a claim against truth is its performative dimension. The point, that is, is not what the sentence says, but what it does.

It is on this last point, however, that the evidence against postmodernism seems strongest. What, exactly, has postmodernism accomplished? I have previously mentioned cognitive dissonance and spiritual transformation as reason to be concerned about contradictions. But these are typically not at the forefront of postmodern concern. Rather, most postmodern writers express some sort of concern for marginalized political groups – women, gays, transgendered people, the poorer or working classes, people in nonwhite racial groups, people from colonized societies. But what has postmodernism actually done to improve their situation?
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Among my peers in their twenties and thirties, the word “old-fashioned” seems, well, old-fashioned (unless, tellingly, it’s referring to the cocktail). I rarely hear it anymore. More commonly, to describe something that seems to belong to an earlier time – a rotary-dial telephone, a tabletop Ms. Pac-Man game, a handlebar moustache – the word of choice is “old-school.” As far as I know, this term has its current provenance from hip-hop music, referring to older works from the 1980s, before the genre became completely mainstream. Urban Dictionary, the anarchic oracle of contemporary slang, identifies “old school” as “Anything that is from an earlier era and looked upon with high regard or respect…. Typically, they are highly regarded and sometimes the very thing that started it all.” Compare a definition of “old-fashioned” from Apple’s dictionary widget: “(of a person or their views) favoring traditional and usually restrictive styles, ideas or customs: she’s stuffy and old-fashioned.”

This change in usage can’t be a coincidence. I think of a twentysomething friend of mine whose father is a modernist architect, a devotee of the International Style. He builds the kind of buildings that only architects can love, eminently functional buildings that appear to most people (including his daughter) as merely ugly: what Jane Jacobs famously called a Great Blight of Dullness. When I visit their house, I see at a picture of him on the wall from the 1970s: a dashing, handsome young man, decked out resplendently in the fashions of the age. Once upon a time, it was the trend to be modern. (continue reading…)