A Thousand Journeys. The Biography of Lama Anagarika Govinda. Ken Winkler. Element Books, Shaftesbury 1990. 182 pp., illustrated. P/back £8.95.

Der Weg der weissen Wolken. Texte, Bilder und Dokumente aus dem Leben von Lama Anagarika Govinda. Edited by Detlef Kantowsky., Konstanz 1996. 233 pp. No price given. ISBN 3-930959-08-9.

Selected works of Gorakhanātha, exponent of the Natha sect in Hinduism and Hindi poet; includes study of his life and works.

In lieu of an abstract, here is a brief excerpt of the content:Bucky Flies, Almost!Govinda SrinivasanOne day Bucky the monkey saw birds high up in the sky. He was looking at the Harpy Eagle soaring beautifully in the sky. He wished he too could fly like that. He knew how to get to the top of the canopy, but then how to fly free in the sky? That was the great problem. Click for larger view View full resolution[End Page (...) 109]Now he looked at himself and said, “I don’t have any wings. But I do have a tail for balance.” He wagged his tail with joy. “Now how do I get wings?” He looked at the whole upper canopy. He saw some huge leaves of the teak tree. He took eight leaves, two for each limb. He tied the leaves to his arms and legs. Crossy-Cross. He felt panic and excitement. Bucky flapped his arms and leapt into the sky. Click for larger view View full resolution Click for larger view View full resolution[End Page 110]The birds looked at him from the sky. Bucky flew for a quarter of a minute and then... “Aaaaaaaaeeeh! Click for larger view View full resolutionEeeeeeeeeh! Oooooooh!” cried Bucky as he desperately caught hold of a branch and hung on to it. The branch creaked and broke. Bucky was much too heavy.[End Page 111] Click for larger view View full resolutionLucky Bucky. He fell through the canopy into the swamp. “SPLASH!” A Manatee took him back to the bank. Bucky said, “Thank you!” in a dizzy tone. He did not give up though. Click for larger view View full resolution[End Page 112]Next time he tried something different. He made friends with the Harpy Eagles. He asked four of them to carry him up in the sky and leave him high in the sky.Bucky then started flapping his leafy wings. The leaves tore away. “Aaaaah! Eeeeeh! Oooooh!” again. One of the Harpy Eagles was swift and it swooped down and held Bucky by his tail just as he was about to crash into the canopy. “Thank God!” said Bucky. “No, No, Thank you, Harpy,” Bucky corrected himself. Click for larger view View full resolution[End Page 113]Professor Beaver was watching, and so were all the students in his class. All the animals in the Amazon Rainforest saw Bucky. Then two Weaver birds came and told Bucky, “We can help you stitch big wings.” Then the beavers came and said, “We will help you build a big yet light frame for the wings.” They began working as a team. All kinds of spiders came and shared their super-strong silk threads. Click for larger view View full resolution[End Page 114]Soon the forest was humming with activity. Bucky got a pair of wings. Then he asked for advice from the birds. The Tawny Owl said, “You know, Bucky, why don’t you try to glide first. You can learn it from the Flying Squirrels.” Bucky said, “What a great idea! I can learn to fly from a fellow mammal.” Click for larger view View full resolution[End Page 115]Bucky went in search of the squirrels dragging his wings along. He searched all day, but the Flying Squirrels were not to be found. “Well, Bucky, Flying Squirrels are nocturnal. You will have to wait until dark,” said the Tawny Owl. “OK! I shall wait then,” said Bucky. Click for larger view View full resolution[End Page 116]At night, the Flying Squirrels came out and started flying from tree to tree. Bucky begged them to teach him how to fly. They said, “We don’t fly. We glide. We are called Flying Squirrels, but we don’t fly.” “Oh! Dear! Let me learn to glide then. Gliding is surely better than falling like a rock,” said Bucky. He climbed to the top of trees with the squirrels and jumped across just like them. They glided to the tree trunks far far away.But Bucky fell yet again with a big thud, and a bigger scream. “Aaaah! Eeeeeh!! Ooooooh!!!” He woke up the whole forest in the middle of the night. The animals were... (shrink)

Contributed articles chiefly on the life and work of Govinda Chandra Dev, philosopher from Bangladesh; festscrift volume of lectures; includes articles on Bengali culture.

Phenomenology, as I understand it, by G. C. Deb.--Phenomenology: education and evaluation, by Kazi A. Kadir.--Phenomenology, by B. H. Siddiqi.--Phenomenology in perspective, by James L. Kinder.

Contributed articles on Indic philosophy, Vedic grammer, and classical Sanskrit literature; includes some on the life of Kr̥ṣṇa Mādho Jha, Sanskrit scholar.

To this new edition of the Bardo Thödol have been added a helpful Psychological Commentary by C. G. Jung and an Introductory Foreward by Lama Anagarika Govinda. --D. R.

Anagarika Munindra played an important role in the movement to teach vipassana meditation, and to spread this method widely in South Asia and the West. His life is examined with respect to its historical context and the spread of the vipassana movement from Burma to India and then to North America, Europe, and Australia. His family background as a Barua caste member, involvement with the Mahabodhi Society and the Buddha Jayanti celebration of 1956 are examined in order to clarify (...) the origins and historical significance of vipassana meditation as it spread in popularity during the second half of the twentieth century. The importance of his role as an essential link between the Burmese vipassana masters with whom he studied and his western students who have now become important meditation teachers is explained in order to shed light on the origins and signifi cance of the vipassana movement in contemporary Buddhism. (shrink)

Religion and philosophy in 'Akāla usatati', portion of Daswen̲ Pādshāh kā Granth, attributed to Gobind Singh, Guru, 1666-1708.

A Comparative Study of Jainism and Buddhism. Brahmacari Sital Prasad. Madras 1932, repr. Bibliotheca Indo-Buddhica No. 7, Sri Satguru Publications, Delhi 1982. xxiii + 304 pp. Rs. 80.

Commentary on Brahmasūtra of Bādarāyaṇa, based on Viśiṣṭādvaita philosophy.

In lieu of an abstract, here is a brief excerpt of the content:Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely ChildEllen Handler SpitzThere was the child, listening to everything...—Yasunari Kawabata1IntroductionPicture-book characters spring to life in both verbal and visual registers. Moving about the page before our eyes as well as speaking and acting in their respective stories, they often make a long-lasting impact on children. Pictures and words, moreover, may overlap but are never commensurate; like the (...) words and notes of a song, they mean and evoke differently even while being experienced together. This brief essay considers a small selection of works by two distinguished twentieth-century American authors-artists: William Steig (1907–2003) and Maurice Sendak (b. 1928). It argues that, with their artful words and pictures, Steig and Sendak construct very different—even contrasting—visions of childhood. By “ethos” in this context I mean to suggest a vision of what a child is, a sense of what it means both to be a child and to address one. Such visions differ not only through the ages and from one culture and locale to another but also from one author-artist of the same period and locale to another. Invited to speak on Sendak’s and Steig’s respective works at meetings scheduled just a week apart in New York City during the winter of 2007, I found in these paired invitations a fortuitous opportunity to juxtapose several of their works and thereby discover some arresting contrasts and formulate the following readings.2First, a word on the topic of methodology. Nearly one hundred years have elapsed since Freud published his celebrated-cum-notorious foray into psychobiography with Leonardo da Vinci and a Memory of His Childhood,3 wherein shards of circumstantial biographical evidence were laid out in seductive mosaic patterns secured with a grout of ingenious speculation. Despite subsequent decades of critical reflection, Freud’s method soldiers on nonetheless as a modus operandi in the psychological interpretation of art and literature.4 By bracketing a small selection of Steig’s and Sendak’s works here and limiting myself to extracting a tentative underlying ethos from them, I am [End Page 64] taking the position that to write psychologically one need not mention or exploit a creator’s personal life. This essay points gently toward psychological approaches that ask what we can see when we look carefully at the pages of works. What can we find when we share children’s books with children? Why, for example, has Sendak’s Where the Wild Things Are sold over seventeen million copies (and its Amazon rank last time I checked was around 145, which means that only 144 other books in the United States were selling more copies at that particular moment), whereas his later work Outside Over There—a book that apparently figures prominently in his personal life—comes nowhere close?5 While market figures do not correlate flawlessly with children’s actual preferences (adults, not children, are the buyers), I would aver that, in this case, they do reflect the success and beloved status of Where the Wild Things Are, since the figures tally with additional facts: the book continues to appeal in its fifth decade post publication; it is known and has been translated worldwide, dramatized, and set to music6; and its characters have been fashioned into ubiquitous stuffed toys. On the other hand, in my (limited) experience, young children seem to find Outside Over There unsettling, unintelligible, even “creepy” and often have trouble sitting still through a full rendition. Some adults, on the other hand, praise that book as poetic and admire its more complex art. Such discrepancies in reception deserve our attention; they hint at fallow fertile fields lying over the rainbow, far beyond the much-plowed tracts of authorial psychobiography. This essay gestures casually toward those fields.The Connected Child“My dear Deborah,” said Doctor De Soto, “you must have been reading my mind.7Let’s begin with William Steig, who is best known for his New Yorker cartoons. His work for children extends back to 1968,8 however, when he was already a man in his sixties. Setting aside the... (shrink)

Commentary, with text, on the Yogasūtra by Patañjali, basic aphoristic text of Yoga; with Hindi exposition based on the commentary ascribed to Śaṅkarācārya.

Classical work on Vedanta; includes Bhāṣyaratnaprabhā of Govindānanda and Śārīrakamīmāṃsābhāṣya of Śaṅkarācārya.

Description: The Vedantasutra of Badarayana is one of the great philosophical works of India. It deals with those fundamental questions concerning man's existence, that still remain an enigma despite all attempts of eminent philosophers and religious leaders both past and present, of this world at unravelling its mysteries. The teachings of the Vedas, the doctrines of contemporary philosophers and the purport of important passages from Upanisads are its subject-matter. It is at once a repository of all earlier knowledge, a genesis (...) for further philosophical speculation and an evaluating scale for new metaphysical ideas. Its scope being universal and timeless, Badarayana resorted to a terse and aphoristic style for compressing a vast body of knowledge into such brief statements that could easily be memorized. The sutras are something more than an aphorism; for each, though brief to the point of being obscure, is so pregnant with meaning that interpretation has become difficult and resulted in the growth of an unending line of commentators, both Indian and foreign, spanning centuries from Sankara the earliest, passing through Bhaskara, Ramanuja, Madhva, Srikantha, Nimbarka, Sripati, Vallabha, Suka, Baladeva to Radhakrishnan the latest. This book, known as the Govinda Bhasya, is the commentary of Baladeva, who was a disciple of Sri Caitanya the famous Vaisnavite saint of Bengal. Its approach is theistic and based on the teachings of Madhva and Caitanya. The English translation is faithful to the original. (shrink)

For the past five decades, scholarship on nineteenth century Ceylonese Buddhism has focused on the concept of “Protestant Buddhism” to describe both the development and form of the island’s Buddhist revivalism. Different critiques of this concept have provided alternative explanations of the relationship between Sinhalese Buddhism and the realities of “modernity” in colonial Ceylon. By focusing on the oft-neglected specific developments themselves rather than on that which characterized or constituted them, this article tracks the different phases of the island’s Buddhist (...) revival from its instigation by Migettuwatte Gunananda through its expansion by Henry Steel Olcott to its culmination by Anagarika Dharmapala. By combining insights from the writings of those involved with existing work on the period, this paper demonstrates how Dharmapala, rather than Gunananda or Olcott, drove Ceylonese Buddhist revivalism to its apex by connecting religious revival to economic upliftment during the final phases of the long nineteenth century. (shrink)