Our conceptions of the world affect our perceptions of the world which, in turn, condition the way we subsequently conceive the world.

To preserve the integrity of the tradition, we have to distinguish between what is central to that integrity and what is peripheral. We have to discern between what elements are vital for the survival of dharma practice and what are alien cultural artefacts that might obstruct that survival.

The art of dharma practice requires commitment, technical accomplishment, and imagination. As with all arts, we will fail to realize its full potential if any of these three are lacking. The raw material of dharma practice is ourself and our world, which are to be understood and transformed according to the vision and values of the dharma itself. This is not a process of self- or world- transcendence, but one of self- and world- creation.

What is it that makes a person insist passionately on the existence of metaphysical realities that can be neither demonstrated nor refuted? (176)

I reject karma and rebirth not only because I find them unintelligible, but because I believe they obscure and distort what the Buddha was trying to say. Rather than offering the balm of consolation, the Buddha encouraged us to peer deep and unflinchingly into the heart of the bewildering and painful experience that life can so often be.

We could decide simply to remain absorbed in the mysterious, unformed, free-play of reality. This would be the choice of the mystic who seeks to extinguish himself in God or Nirvana—analogous perhaps to the tendency among artists to obliterate themselves with alcohol or opiates. But if we value our participation in a shared reality in which it makes sense to make sense, then such self-abnegation would deny a central element of our humanity: the need to speak and act, to share our experience with others.

The problem with certainty is that it is static; it can do little but endlessly reassert itself. Uncertainty, by contrast, is full of unknowns, possibilities, and risks.