In a book now marked by both critical acclaim and cross-cultural controversy, Jeffrey J. Kripal explores the life and teachings of Ramakrishna Paramahamsa, a nineteenth-century Bengali saint who played a major role in the creation of modern Hinduism. Through extended textual and symbolic analyses of Ramakrishna's censored "secret talk," Kripal demonstrates that the saint's famous ecstatic and visionary experiences were driven by mystico-erotic energies that he neither fully accepted nor understood. The result is a striking new vision of Ramakrishna as a conflicted, homoerotic Tantric mystic that is as complex as it is clear and as sympathetic to the historical Ramakrishna as it is critical of his traditional portraits.

In a substantial new preface to this second edition, Kripal answers his critics, addresses the controversy the book has generated in India, and traces the genealogy of his work in the history of psychoanalytic discourse on mysticism, Hinduism, and Ramakrishna himself. Kali's Child has already proven to be provocative, groundbreaking, and immensely enjoyable.

"Only a few books make such a major contribution to their field that from the moment of publication things are never quite the same again. Kali's Child is such a book."—John Stratton Hawley, History of Religions

Winner of the American Academy of Religion's History of Religions Prize for the Best First Book of 1995

Winner of the 2008 Benda Prize

Originating in 1891 in the port city of Surabaya, the Komedie Stamboel, or Istanbul-style theater, toured colonial Indonesia, Singapore, and Malaysia by rail and steamship. The company performed musical versions of the Arabian Nights, European fairy tales and operas such as Sleeping Beauty and Aida, as well as Indian and Persian romances, Southeast Asian chronicles, true crime stories, and political allegories. The actors were primarily Eurasians, the original backers were Chinese, and audiences were made up of all races and classes. The Komedie Stamboel explores how this new hybrid theater pointed toward possibilities for the transformation of self in a colonial society and sparked debates on moral behavior and mixed-race politics.

While audiences marveled at spectacles involving white-skinned actors, there were also racial frictions between actors and financiers, sexual scandals, fights among actors and patrons, bankruptcies, imprisonments, and a murder.

Matthew Isaac Cohen's evocative social history situates the Komedie Stamboel in the culture of empire and in late nineteenth-century itinerant entertainment. He shows how the theater was used as a symbol of cross-ethnic integration in postcolonial Indonesia and as an emblem of Eurasian cultural accomplishment by Indische Nederlanders. A pioneering study of nineteenth-century Southeast Asian popular culture, The Komedie Stamboel gives a new picture of the region's arts and culture and explores the interplay of currents in global culture, theatrical innovation, and movement in colonial Indonesia.ABOUT THE AUTHOR---Matthew Isaac Cohen is senior lecturer in Drama and Theatre Studies at Royal Holloway University of London. His articles on Southeast Asian performance have appeared in New Theatre Quarterly, Asian Theatre Journal, Journal of the Royal Asiatic Society, and Archipel. As a practicing shadow puppeteer, he has performed in the United States, Europe, and Asia.