The Isha Upanishad is among the most concise and complex of Upanishads, and one of the most diversely interpreted. Sri Aurobindo wrote a commentary on this Upanishad, seeing it as embodying a problem of becoming, the attainment of a consciousness in which unity and multiplicity are identical and do not erase each other. Drawing on this commentary as well as on the larger body of Sri Aurobindo’s works, this book presents four meditations on the Isha Upanishad. ...more

A book of poems published by Writer's Workshop, Kolkata in 2018. ...more

Groomed in a modern academic tradition and post-Enlightenment ideals of creative freedom and social critique, Sri Aurobindo (1872-1950) turned his attention to yoga and the limits of consciousness in its ability to relate to and transform nature. In the process, he documented scrupulously his experiments and experiences based on a synergistic existential framework of practice. Debashish Banerji correlates the approach to yoga Sri Aurobindo took in his diaries with his later writings, to derive a description of human subjectivity and its powers. Banerji constellates Sri Aurobindo's approach with transpersonal psychology and contemporary lineages of phenomenology and ontology, to develop a transformative yoga psychology redefining the boundaries and possibilities of the human and opening up lines of self-practice towards a wholeness of being and becoming. ...more

Contours of Modernity was an exhibition of contemporay Indian Art held at the Founder's Hall of SOKA University in Aliso Viejo, CA. from Feb.1- April 1 2005. The catalog features fine prints of the 39 paintings exhibited. ...more

A revisionary critique of the art of Abanindranath Tagore (1871-1951), the founder of the national school of Indian painting, popularly known as the Bengal School of Art. The book categorically argues that the art of Abanindranath, which developed during the Bengal Renaissance at the turn of the 19th/20th centuries, was not a normalization of nationalist or orientalist principles, but a hermeneutic negotiation between modernity and community. It establishes that Abanindranath's art-embedded in communitarian practices like kirtan, alpona, pet-naming, syncretism, and storytelling through oral allegories-sought a social identity within the inter-subjective contexts of locality, regionality, nationality, and trans-nationality. Abanindranath is presented here as a creative agent who, through his art, conducted a critical engagement with post-Enlightenment modernity and regional subalternity. ...more