Total Geekout

Over at i09.com earlier today, horror novelist Joe Hill — author of my all-time favorite novel, Horns — participated in a digital Q&A. Fortunately, I finally got the chance to ask Hill the very question that’s been burning in my mind for over a year now:

Hey there! Thanks for the great questions guys. So I guess I’ll just quote your questions, and see what I have (if anything) for answers. First up, from Alex J. Kane:

Q: “What I’d love to know is: How do you develop your characters? Do you write extensive sketches in place of a plot outline? Or do you craft them as you draft the story? I’d love to know where these folks came from.”

A: For the most part, I just sort of feel my way along. Every day, when I sit down to work, I hope I’m going to learn something new about one of my characters: what music they like, how they feel about their mother, what turns them on, what they won’t tolerate. Developing an extensive character sketch ahead of time would rob me of the most enjoyable part of the process.

At the same time, this is also the most challenging part of working on a story, and can lead to setbacks. In all three novels – HEART-SHAPED BOX, HORNS, and the new (unpublished) one – I wound up writing lots of material about certain characters, trying to find the right sound to their voice, struggling to find their emotional center. And most of that material never makes it into the book. I had to write it, for myself, but it isn’t inherently interesting to the reader.

Cat-Faced Goblin Fruit Merchant

Cat-Faced Goblin Fruit Merchant

Cat-Faced Goblin Fruit Merchant | Ink Drawing | 11″x14″

For Sale! This piece is available as a framed original black-and-white drawing; as a custom, one-of-a-kind eBook Cover with titles; as a custom web graphic or banner/header image; or as a framed, full-color illustration. Color available in any category upon request. Email me via the contact form, or leave a comment below, if you think you might be interested.

(The above image is a low-resolution, slightly cropped preview.)

Alex’s Halloween Flick Recommendations

One of the presumptions I make with this blog thing is, anyone who comes here and reads this puppy probably values my opinion somewhat. Another is, most folks who read this will already be reading horror novels and other fantastic fiction year-round, so instead of tossing out some ideas about what to read this Halloween, I’ll give you my prescribed list of the ten best fright films ever, ’cause, you know, I wouldn’t want you wasting your time watching bad movies:

  1. George A. Romero’s Creepshow (1982). This fun, campy tribute to the old horror comics of the 1950s and -60s is scripted by none other than terror maestro Stephen King, who stars in the film alongside his son, writer Joe Hill, Ed Harris, Hal Holbrook, Leslie Nielsen (in one of his most memorable performances ever!), and Ted Danson.
  2. Frank Darabont’s The Mist (2007). This tale of cosmic terror, starring Thomas Jane, Laurie Holden, Toby Jones, and Marcia Gay Harden (in a role to rival the villainy of even Anthony Hopkins’s Hannibal Lecter, or Darth Vader), follows the harrowing struggle of a father and son trapped in the supermarket — as if that isn’t horrifying enough! — during a mist-borne invasion of otherworldly terrors. What is terrifying isn’t necessarily the interdimentional spiders, mammoth insects, or even the Lovecraftian Behemoth-Flea-Thing, but rather the individuals who polarize and wage war among a microcosm of humanity (inhumanity?).
  3. Michael Doughert’s Trick ‘r Treat (2007). Brian Cox, Dylan Baker, and Anna Paquin bring unforgettable performances to this episodic web of interwoven terrors. A kind of Halloween-themed Creepshow homage, this film shines on the basis of a solid, tightly woven (if a little understated, or even vague) script and some genuine scares.
  4. John Carpenter’s Halloween (1978). I don’t call myself a purist, and I’m definitely no snob when it comes to picking films, but I’ve so far refused to watch Rob Zombie’s modern retelling of the classic Michael Myers film that launched the “slasher-flick” subgenre that has come to define horror cinema in recent decades, for better or worse. A chilling soundtrack, an organic story that flows like a deep, deep knife wound, and career-defining performances by veteran actor Donald Pleasence and a young Jamie Lee Curtis make this timeless film both a visceral and psychological exploration of evil that will live on long after its imitators have faded into obsolescence.
  5. Tim Burton’s Sleepy Hollow (1999). Perhaps Burton’s most underrated, and subtly terrifying work, Sleepy Hollow is rich beyond measure with atmosphere, stellar performances from a mind-blowing cast, and convincing studies of supernatural tropes such as witchcraft, the undead, and that cheerful little place we call Hell. Stars Johnny Depp, Christina Ricci, Miranda Richardson, Jeffrey Jones (Edward Rooney from Ferris Bueller’s Day Off), Emperor Palpatine — er, Ian McDiarmid, Michael Gough (the original Alfred Pennyworth), Michael Gambon (Dumbledore!), and Christopher Walken, minus his head.
  6. Dennis Iliadis’s The Last House on the Left (2009). Iliadis takes first-time director Wes Craven’s brilliant 1972 premise and gives it the visceral, adrenal, downright savage production it deserves. A young girl is brutally raped after watching her friend get stabbed to death in shockingly believable fashion. When she shows up at home, bloody and too exhausted to speak, her parents realize they’ve been giving shelter to the most vile band of murdering rapists — played brilliantly by Garret Dillahunt, Aaron Paul, and Riki Lindhome — they’ve ever had the misfortune of meeting. Revenge ensues.
  7. Mary Lambert’s Pet Sematary (1989). Stephen King adapted the script from his own novel of the same name, so one would almost be better off just reading the damn book — a masterpiece of macabre literature — but since it’s Halloween and movies are the flavor of the night, this haunting little film should keep you up all night. Or for several. Fred Gwynne (of Herman Munster fame) plays the cautionary-uncle figure Jud Crandall, who knows the secret of the Pet Sematary — and warns Louis Creed (played by Dale Midkiff) of the dangers of playing God through ancient, death-defying magic. I remain convinced to this day that this is the film that warped my young, impressionable mind as a child; it’s the reason why I “write this awful stuff.”
  8. Ti West’s The House of the Devil (2009). A retro horror flick reminiscent of the 80s but twice as good as anything that inspired it, The House of the Devil is a suspenseful tale of a Satanic cult seeking a babysitter for a job that doesn’t involve children. One of the most satisfying — and downright unforgettable — climaxes in the history of horror cinema.
  9. John Carpenter’s The Thing (1982). This exploration of the alien other, of Cold War-era paranoia, and of humanity’s dissolution in the face of unthinkable terror is one of the finest horror films ever crafted, not because its special effects are stunningly real (they’re not), or because the acting is Oscar-worthy (most of the performances are merely workable, with the exception of Kurt Russel’s and Keith David’s), but because it deals with abstract sociological concerns on a microcosmic scale, and with unparalleled brilliance. The description of the alien, and the scene toward the film’s middle, when one of the humans bares its alien instincts in an inhuman shriek, and is set swiftly ablaze with a flamethrower, make for one of the most thought-provoking portrayals of science intersecting with a deeper, psychological brand of horror that ends on a resonant, haunting chord more than worth the price of admission.
  10. Alfred Hitchcock’s Psycho (1960). Janet Leigh’s infamous shower scene, punctuated with the artful dilation of her pupils and the spiral washing of her blood (rendered black, due to the film’s appropriate lack of color) down the drain, is one of the most memorable moments not only in the history of horror and suspense, but in all of cinema. Anthony Perkins’s portrayal of quiet, repressed sociopath Norman Bates — and, let’s not forget, mother up in the bedroom window — is another example of a performance that will outlive most of its predecessors, excepting only the likes of Hopkins’s Hannibal Lecter in Silence of the Lambs and Red Dragon. Vince Vaughn’s performance in the contemporary remake is by no means bad, but I have to argue that it’s yet another example of a modern film reboot that is simply unjustifiable, artistically and otherwise.

Bad News and Troubling Reactions

Every writer wants to be published. For many, it’s the Big Thing. It’s the external validation, the justification for continuing on with all this madness. But in today’s world, it’s also very easy, and writer exploitation is a rampant nuisance.

Like most writers starting out, the first paid fiction sale was my main goal. Not word count, not long-term project completion, not mastering the craft; I wanted, first and foremost, to be published.

And in August 2010, I received an acceptance for my first story, “Night of the Widow” — not a great story, but one I was proud of at the time. It was purchased — or at least contracted for — by Bill Tucker of the Library of Horror Press. Mr. Tucker is a great guy, so far as I’ve been able to tell, and has worked hard for the Library. I went on to sell three more stories to Mr. Tucker for various Library of Horror Press anthologies, one of which was paid for and published. The other three, I just read on the publisher’s forum, have been cancelled, for financial reasons. So they’re no longer listed on my bibliography page, and will likely never see print. I’m fine with this, despite my initial disappointment.

But what troubles me, aside from my own interests in the matter, are other writers’ reactions to this small press going broke and subsequently cancelling upwards of a dozen — if not dozens — of announced themed anthologies. Each of these books was conceived as a themed collection of stories, and then an editor (to be paid on release of the anthology, like the writers — the editors have been equally wronged) would read, select, and send out contracts for chosen stories. Then a table of contents would be posted, and a vague, tentative release date such as “Spring 2011″ would be posted.

Due to financial difficulties — i.e., poor sales — the projects were simply abandoned. And writers, editors, and cover artists were left unpaid (I’m assuming — cover artists were perhaps paid on completion of their work) and unpublished — which happens all too often in this industry. I’d read the horror stories more times than I can count, and yet I always assumed nothing like this would ever happen to me.

But the writers involved are fine with this! They’re disappointed, sure, as I am — but they’ve offered up propositions such as:

  • accepting a one-time advance of $5.00-$10.00 in place of the contracted 1 cent/word + contributor’s copy
  • attempting to use Kickstarter as a way to fund books that have already been compiled and contracted for
  • and even: paying for the publication of the books in place of accepting payment!

Are we so fucking desperate? Do we never want to have careers?

The writer is such a delicate artist, such an utterly senseless creature, that he is willing to look past simple business sense, accept no payment — which he was promised long ago, perhaps over a year ago, when the contract was signed — and be happy about it?

Involved parties have suggested that a penny per word is itself a problem, that the publisher wouldn’t be going broke if it hadn’t customarily promised writers compensation of 1 cent/word plus a contributor’s copy, and then only the editors and cover artists would need to be paid. Fuck… Aren’t these books of stories? Written by writers?

Anyway, my anger is not toward the publisher — a labor of love with a very passionate community surrounding it — and certainly not toward the editors, but toward the writers themselves, who are too stupid to recognize the seeds of exploitation, who are fully willing to forego payment of any kind, or even pay the publisher to fund the book’s release. This is not the way publishing works — it was never intended to work this way, and it shouldn’t ever work this way.

If someone is in such a big damn hurry to be published, he ought to take ten minutes to convert his document to .mobi format and throw it up on Amazon. Or put together his own pay-on-demand anthology project — and hell, don’t offer contributors any sort of compensation for their work. Maybe they won’t mind.

But dammit, writers, stop giving away your work for free. Writers get paid.

Interesting Theological Discussion Over at LitReactor

…In which I reveal a lot of the rationale behind my own beliefs, and why I think everyone else is equally entitled to their own without question, ridicule, or animosity. Go check it out, if you’re thinking about gettin’ religion, or losing it like REM.

Excerpts from my own posts:

I’m exactly where Phil stands: I’m an atheist, but not not a militant atheist like the other handful of guys at my college, who like to host events along the lines of “Ask an Atheist Day,” etc. I see no use in ridiculing believers or trying to plant doubt in people. I never had faith to begin with, so I would never tell a religious individual that her beliefs aren’t valid — I’ve got no agenda, no theological message to spread.

In regard to Mormonism, there are some extremely intelligent people that belong to that religion, as with any faith, and I don’t believe it’s any less worthy of its followers than any other world religion. Joseph Smith certainly isn’t the only religious leader in history to have incited mass bloodshed.

If I ever wanted to lead a religious life, I’d go with Buddhism; I’ve found there’s a lot of truth to its teachings, even if some of the cosmology and rituals are pretty hokey.

[...]

Kirk, I agree with you 100%. Perhaps I wasn’t very clear, but militant atheism is certainly not the same thing as various atheist campaigns like “Ask an Atheist,” et cetera. I apologize for not elaborating on that well.

Militant atheism, at minimum, is the sort of thing I see on Twitter and other places constantly: Folks go out of their way to find religious folk, ridicule them in a Conversation-Stopper sort of manner, and then fly out the door without further discussion. It’s hostile, it’s not constructive, and moreover, it paints atheists in the unnecessarily negative light that many assume all atheists belong in.

Believers need not see atheism as the enemy, and vice versa. One liberal Presbyterian reverend I know claims that even atheists are “People of Faith” in his worldview.

[...]

It’s hard to pin down, I think, because people always assume that there’s some sort of hidden sociopolitical agenda behind everything. For me, it’s always been a matter of intellectual and theological integrity. I don’t see atheism as a dogma, which my political philosophy professor argues that it is, but rather my individual admission that I don’t believe in any form of supernatural deity. I’m not dogmatically asserting that there cannot possibly be a god of any kind in this universe or any other; I’m merely saying that I see no evidence, and feel no inherent knowledge, to support that conclusion. An atheist doesn’t know that there’s no God, he’s just pretty damn sure of it, given the scope of our limited world. After all, there are a lot of stars out there, winking across the night, and we’ve been to visit…none of them.

Say hello to my little friend…

Went to pick up my copy of Chuck Palahniuk’s latest, Damned, at my favorite local indie bookshop, Stone Alley Books & Collectibles, and the very next day this infant demon followed me home. I suspect he’s just hungry — probably for my soul — so I plan on feeding him for a few months, nurturing him until he can fend for himself, and then letting him go. He has bloodshot eyes, and a temper that makes his fiery igneous-rock complexion glow. It’s only a matter of time before he catches the house on fire, I fear. And, he says, as soon as I finish reading Chuck’s new book, I have to write a novel about him. Says his handwriting’s pretty bad, and every time he tries to type his fingers melt the keys — so I can either ghostwrite his memoir, or go to Hell, he says.

I figure, what the hell? I can keep him happy, and come out the other end with a novel manuscript in-hand. Sounds okay to me. Says he wants plenty of death metal, cuddly infant demons, and scary shit to happen — not an exaggeration, according to him, but rather an apt metaphorical illustration of his life experiences.

Damned is great so far, and to my relief bears no similarity to my other beloved Satanic bible, Horns, so I’m thinking the subgenre of the demonic dark fantasy story still has plenty of life left in it. I need to get a novel or two under my belt, and science fiction seems like a big chunk of research to chew on right now, given my obligations to schoolwork, etc., so horror it is. I’m enjoying the outlining process so far.

Fragile Magic

Okay, so I’m currently clattering right along on a short story called “Fragile Magic,” for a horror anthology I really want to appear in. My self-imposed daily word count is now 500 words/day when possible, and on Tuesday, Wednesday, and Thursday of last week, I succeeded with flying colors. The story is wrapping up nicely and I should have a finished first draft tomorrow afternoon.

Either Thursday as I was writing or Friday during work, I began to notice an annoying, dull pain in my upper back that has in the intervening days spread to my left pectoral. I’m 22 years old, and this is freaking me the fuck out. So I haven’t written much in the past three days — got about 200 words in today, though — and I am going to be making a trip to the doctor’s office soon. I don’t eat healthy, I’ll admit it, but I think my real problems are: poor posture due to sedentary writer’s lifestyle, desk job, etc.; caffeine addiction — I drank at least six cans of soda on Friday, when my pain was at its peak, and a cup of coffee as well; and lack of regular exercise.

I mean, hey, I walk all over a hilly college campus daily, but that’s about it. And some stairs and a walk around the park with the girlfriend and the dog a couple times a week. Friday night after a dizzy spell (brought on as I was hunched over my laptop and scaring myself half to death by Googling things like “Chest Pain and Back Pain 22 yrs old” and “Heart attack symptoms”) I took three ibuprofen (600 mgs, which some search result suggested for heartburn) and slept flat on my back.

Saturday I woke with no pain whatsoever, and that persisted until the girlfriend and I went out for a hearty meal at the good ol’ Olive Garden, where I ate my fill and drank a Diet Coke — my first soda of the day, due to the scare the night before — and things were good. Sunday and today, I went back to my bad habits and now the pain is easing back into the level of “relative nuisance,” for lack of a better metric.

Feel free to chime in and share stories of your own regarding back and chest pain (mine came first as back pain, then progressed to chest pain the following day). For the love of Cthulhu, put my mind at ease.

Confession

Okay, time for me to purge my soul. Or whatever. You know, to ask you all to absolve my sins.

So: You okay with that? You think you handle it?

Good. You’re a pal.

Here’s the thing. For the past…I don’t know, two years? Not quite two years? — I’ve been calling myself a fiction writer. Sometimes I title this blog: Alex J. Kane, Science Fiction Writer. Or Horror Writer. Author. Dark Speculative Fiction Writer.

Call me what you want. I’ve published science fiction, I’ve published horror. But what I’ve done very little of, folks, is actually fucking write. I know, I know; you don’t follow the logic. It’s absurd. Yep.

Let’s be honest with ourselves, shall we? College does not encourage creative minds to foster their creativity outside the curriculum. It does not recognize the work of the aspiring writer as contributing to the enrichment of the English Major’s formative mind. It may toss a million ideas your way, but what it does not do is leave you with much time or energy to actually sit down, think for a bit, and pound out a few drafts.

I mean, I’m proud of what I’ve accomplished so far in my writing career. I’ve been a full-time student, part-time bank teller, and half of a pretty amazing long-term relationship with my best friend in the world; and all the while, I’ve managed to crank out 25 finished short stories and novelettes. Over the course of two years.

Not bad, I suppose, except. Well.

It is bad, because I could be writing a hell of a lot more. We’re now on the tenth month of 2011, which means there are less than three months left in the year.

So far in 2011, I’ve written seven short stories, one of them still unfinished. That’s it.

Here are the raw numbers, along with titles because titles are fun:

  1. “An Apocalypse of Her Own, One Day” — 931 words
  2. “El Mirador” — 3,395 words (Sold for about $70.00 to the Mirror Shards anthology)
  3. “Headcase” — 2,151 words
  4. “Moonbound” — 1,214 words
  5. “Prospect of a World I Dream” — 3,790 words
  6. “Somewhere in the Realm of Dead and Dying Souls” — 752 words
  7. Untitled SF short story — In-progress at 1,685 words

Did you hear that? That was me. Sighing.

My total word count for 2011, so far, is at 13,918 words. Fuckin-ay, man.

I’ve read a shitload of books this year, at least. I haven’t been keeping track, since it’s a recreational activity for me more than it’s some kind of tedious occupation, but I’d estimate a pretty fair number of books and short stories.

But. Last year, I not only wrote a hell of a lot more in terms of new fiction, I also read a lot more; it was automatic, full of passion and unquestionable joy. Now, that impostor syndrome I mentioned a couple weeks ago has…started to hinder things a bit. I’m so self-conscious of every aspect of my career, hell, every aspect of my life, that now the act of writing has begun to feel like drudgery. Ideas are better, but scarcer; my craft is stronger, but I write far less often; I’ve now sold eight pieces of fiction, one of which was for $327.00 — and yet I fear that I’m not really a writer.

Faker, I hear myself whisper. I hear, But you’ll never ever be as good as Joe Hill or John Kessel or Ursula K. Le Guin or Dick or King or Buckell or any of those folks, because you’re just some kid with a kid’s dumb courage and enthusiasm.

I continue to tell myself, of course, that these voices are the writer’s death. Doom. They’re the voices that make or break a career before it ever begins. I tell myself that after college, the mountainous piles of homework will be gone, and I’ll have the energy, free time, and gusto to write on the kind of regular basis that Chuck Wendig and, well, every other fucking writer who ever made a dime on his or her words prescribes. But I also know that King wrote his first novel — hell, maybe several — while he was still in college, doing the exact same workload that I’m suffering through now.

I have to cultivate better habits of regular writing if I’m to avoid falling into the Pit of Would-Be Writers, where all is talk and no words are ever written. Where would-be careers lie dead in their tracks, unlikely to ever rise back up for fear of failure.

I’ve proven I can produce quality, professional-level writing. There’s no excuse for me to do otherwise; I’ve got to make the time, find the words, and forget the critical voice, the stifling self-doubt, and just have fun with it. Back in June, I got excited about Tom Carpenter’s Mirror Shards call for submissions, wrote a science fiction story over the course of three days or so without thinking for a moment about whether what I was doing was any good, or whether it made any sense, and I ended up producing what is probably one of my best stories to date.

I used to scoff at the idea of a muse in any sense of the word, used to believe that hard work and discipline were all this writing gig takes, but now I’m reconsidering. If a muse is good enough for Stephen King, well, I suppose I shouldn’t be so critical of the idea. So I’m taking measures to nurture one, by taking regular walks at a gorgeous recreational park beside Lake Storey, soaking in the life of the  place, taking photographs, breathing in nature’s air and all that. Spending time with my dog and girlfriend, avoiding beer (which I always suspect will help with the writer’s block, but which I’m unwilling to rely on for creativity) like the plague, and trying to gradually get back in shape.

I know what it takes to be a good writer: the work ethic; the unflinching honesty, originality, and in-your-fucking-faceness; the continual development of a process, devotion to the craft, and love of storytelling. What I need to find now is the path to becoming the best version of myself, and become it — because right now, I’m simply not doing my job as a fiction writer. And I hate myself for it.

Reflections on Buddhism, Chapter 3

In a short passage from the sutra titled “The Perfection of Wisdom,” from Buddhist Scriptures, translated by Gregory Schopen, the Buddha engages in an instructional dialogue with the wise arhat Subhuti. The teaching, estimated to have been written in the eleventh or twelfth century, is clearly meant to illustrate the method by which wisdom is gained through the elimination of a conception of the self. Its audience would have been Mahayana monks, or even arhats, who like Subhuti himself have already achieved nirvana. Since there is some inquiry about the role of the bodhisattva, and since it is a Mahayana sutra, one can see many distinctly Mahayana characteristics of the passage, but pages 435-6 seem to focus predominantly on the doctrine of No-Self, or in a larger context, “emptiness” or “suchness.”

To summarize the passage: In the beginning, on page 452, the Buddha is asking Subhuti about various physical analogies for the nature of “emptiness” described in the dharma. Upon hearing the teaching from the present-day buddha, the wise Subhuti “burst[s] into tears” (453), finding himself with a grasp of the Tathagata‘s teaching and also “possessed by the greatest astonishment” (453). Having reached an understanding, Subhuti restates the doctrine to the Buddha so that the reader or audience might better comprehend them. The most important idea within the teaching, he explains, is that for those who master it, “a conception of a self will not occur to them, nor a conception of a living being, nor a conception of a personal soul, nor a conception of a person” (453). In other words, one who has honed and perfected one’s wisdom will no longer be limited in thinking only of conceptions; rather, one will perceive and apprehend the true suchness, or emptiness, of reality. The passage ends, for the purposes of this analysis, where “folio 6 is missing” (454).

One important distinction in the text is the denotation of Gautama Buddha by the title “Blessed One,” while the Buddha himself repeatedly mentions the teachings of one he calls Tathagata, which means “title for all Buddhas in Mahayana” (407), according to Mitchells. Early in the passage, the Buddha mentioned “a tathagata” (453), which would denote anyone elevated to point of Awakening in the sense that one could be called a buddha. Later, the Buddha clearly speaks of Tathagata as someone separate from himself when he explains that “This, Subhuti, has been declared by the Tathagata to be the greatest perfection” (454). So part of the teaching is indicative of even the Buddha’s lack of a self-conception; because the tathagata is a cosmic entity, neither bound to a human soul or final mortality, the Buddha can be at once many beings throughout spacetime, or the various “world-systems” he describes.

A key image in the text, however cryptic, is that of the River Ganges. The Buddha explains that “if a woman or man were to give away their person as many times as there are sands in the River Ganges, [it] would [...] produce great merit, immeasurable and incalculable” (453). The act of “[giving] away their person” is especially vague, whether intentionally so or not. The sentence conjures images of intentional self-drowning, of self-sacrifice, and even of merely meditating to the point that the notion of a self is fully extinguished. After all, the syntax of the statement is little more than a clever simile, as well as perhaps a hyperbole to drive home the Buddha’s point; this makes the image of purging the self through concentration and wisdom the dominant one, and that seems to reinforce the greater purpose of the passage’s teaching.

Another important piece of imagery is the Buddha’s memory, from a past existence, of when

“an evil king hacked the flesh from all my limbs, [...] there was for me on that occasion no conception of a self, no conception of a living being, no conception of a personal soul, no conception of a person.” (454)

This situation, above all else, illustrates the literal extreme of truly achieving perfect wisdom as the Buddha sees it. For one to endure such visceral agony, one must become fully detached from the sensations, cravings, illusions, and most importantly, conceptions of the human form. One who sees independently of self, of one’s physical being, can see past the pains of this world, however great, and view the true emptiness of reality.

Mitchell describes this understanding of “suchness” as having a “liberating effect” (108). By “experiencing the emptiness of all things,” he explains, “one’s attachements to the things of the world are loosened, defilements are brought to an end, and delusion is dispersed” (108); this is recognizable as the very path to Nirvana. But since the Mahayana sutras prescribe followers to seek the “Middle Way,” rather than achieving the total emptiness of pure Nirvana, it is interesting to consider the implications these ideas might have for modern life, and what such adherence would mean in the context of possible futures.

For instance, today we have access to pharmaceutical drugs which largely numb bodily sensation at the expense of mental side-effects, while those that affect the body without hampering the mind often induce some degree of paralysis. It is not too far a stretch, however, to assume that some sort of nerve-deadening therapy in the near future might have the potential to alleviate pain in the physical sense while leaving the mind more or less intact — undamaged, if not unchanged. This would bring us nearer to achieving a kind of distance from our conceptions of physical being, but it would be imperfect, because the body’s relationship to the mind would still limit us to an understanding of the self, due to the constraints of a human body in relationship to the greater universe, the dukkha posed by the body’s needs, and our existence within the human form — glancing downward and seeing the heap of our flesh, our legs in stride, our hands at work.

There is theoretical technology believed to be just beyond the horizon at present — the seed behind much of today’s science-fictional extrapolation: the idea of the Singularity. Whereas the predicted Machine Singularity is the belief that artificial intelligences will achieve a kind of consciousness equal to that of a human’s, the Human Singularity is the idea that one day soon, a human mind will conceivably be uploaded by one of several plausible methods of cerebral “recording,” and achieve a kind of immortality free of the limitations of the human body. Self-described “transhumanists” believe this is the logical next step for civilization; the visionary mind of Arthur C. Clarke predicted it over half a century ago, not long after he proposed the idea of a global satellite array to enable instantaneous communication throughout the world. If such a being ever does exist — and there are countless scientists who have no doubt on the matter — then it seems that an “infomorph,” or computerized human consciousness, without need for physical sensation, without limitation of sight, and with boundless mental capacity through the aid of computers, would have the best chance of achieving the Buddha’s notion of Perfect Wisdom.