Lalitamba 1

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Lalitamba was inspired by a pilgrimage through India. In 2004, we traveled from city to city, working to alleviate the suffering that comes from poverty, illness, and plain loss of hope. In India, the Divine Mother is called Lalitamba. She is looked to as the supporter of the universe. Lalitamba is a collection of contemporary spiritual literature. Our first compilation, formerly web only, is now available as a limited edition print volume. This first collection offers stories of emotional healing and spiritual growth. It opens with Samantha Holloway’s short story “Melinda Miller’s Laugh,” the delightful tale of a woman who…

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Beschrijving

Lalitamba was inspired by a pilgrimage through India. In 2004, we traveled from city to city, working to alleviate the suffering that comes from poverty, illness, and plain loss of hope. In India, the Divine Mother is called Lalitamba. She is looked to as the supporter of the universe. Lalitamba is a collection of contemporary spiritual literature. Our first compilation, formerly web only, is now available as a limited edition print volume. This first collection offers stories of emotional healing and spiritual growth. It opens with Samantha Holloway’s short story “Melinda Miller’s Laugh,” the delightful tale of a woman who is released from a long depression by the silver light of her own laughter. The compilation also includes an excerpt from Kate Niles’ debut novel The Basket Maker. The piece tells of two children who create an imaginary world out of a spider-filled basement. Though fanciful, the collection is also bold in its realism. Amira Salaam Amro’s short story “November, 1989” tells of an estranged couple who rediscover their love for each other as they come to terms with the fact that their youngest son is dying of AIDS. The collection suggests that we make the most of our life and our loves in each moment. Stephen Kopel’s poem “Intruder” jokingly compares his “minor hurts and major sorrows” to a house that needs rearranging. Barry Ballard’s poem “The Silent Errand of Anything” describes learning how to forgive.The tone of the collection is expressed in Dietmar Busse’s cover image. The photograph is a vision of divinity. Just as God is neither male nor female, so Busse’s ambiguous self-portrait appears to be the essence of compassion and beauty. The beauty and power of the collection as a whole is the underlying theme that all we need is here, now, within our own open hearts.

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