Thursday, 7 August 2025

The Strange Case of Tuesday Lobsang Rampa

 

Ben Edair in 1958 (left (from Der Stern) and today (right)

In early February 1958 a drama played out in a house called Ben Edair on Balscudden Road in Howth, a small village outside Dublin. In the house lived a man calling himself Dr Carl Ku’an, who had written a book called The Third Eye under the pen-name Tuesday Lobsang Rampa. [For convenience I’ll refer to him as Rampa in this blog.] The book, an international bestseller, is meant to have earned him the equivalent of £1 million in royalties. The Third Eye was sold to the public as the autobiography of a Tibetan Lama.


Tuesday Lobsang Rampa and the first UK edition of The Third Eye

Rampa got on well with his neighbours in Howth and if he and his wife were a little eccentric, well, they were foreign. They were friendly and also very generous. Rampa was meant to be writing the sequel to The Third Eye, which had the working title, A Medical Lama. Living with them was a pretty young Englishwoman called Sheelagh Rouse, who was sometimes referred to as Rampa’s secretary.

When the Irish photographer Pat Maxwell visited the Rampa household in late January 1958, he came under false pretences. The Rampas were wary of him, but he said he was a freelance photographer and that the photographs he took would be useful for general publicity purposes. But when he got back to his offices, Maxwell sent them off to the Daily Mail. And while he had been out he had missed a request from Time magazine in America to take some photos of Rampa for them as well. So Maxwell went back to the Rampas at Ben Edair and, saying that the first photos hadn’t come out properly. He was allowed to take a few more.


One of Pat Maxwell's photographs, published in Time magazine

The Rampas may well have been suspicious. The journalist, Hugh Medli­cott must have visited them and had asked if Rampa’s real name was Cyril Henry Hoskin. Apparently they denied this at first. He will have presented them with evidence, which they must have then accepted, because they admitted that Rampa had ghost-written the book to hide the identity of a real Dr Ku’an, who wrote the book and lived in fear of Communism.

Elsewhere, Medlicott quotes Mrs Rampa telling him that The Third Eye was a work of fiction—that her husband had tried to get a number of jobs without success, and so was persuaded to write the book for money. The Rampas would later claim that the various quotes attributed to them were made up. Tabloid newspapers don’t have a reputation for honesty and integrity, but it is likely that the Rampas were flailing around for a plausible explanation for the position in which them found themselves.

Mrs Rouse, the Secretary, is meant to have said: ‘We were prepared for snoopers to come and pry out the facts. I have seen the real Dr Kuan but I will not tell you where he is.’

The Rampas must have been suspicious about what might be about to be written in the newspapers. Medlicott had been conducting a number of interviews with friends and family of the Rampas, and word may well have got back to them.

Daily Mail 1st February 1958 (left) and Daily Express, 3rd February 1958 (right)

On the morning of 1st February there was a large exposé of Rampa in the Daily Mail. Sheelagh Rouse’s picture took up more space than did Rampa’s, in a blatant effort to suggest something sexually untoward (this was never claimed directly). It was revealed that
Tuesday Lobsang Rampa, was not a Tibetan Lama at all, he wasn’t even somebody called Dr Ku’an, the name he had been using, or even Kuan-Suo, another adopted name—he was actually, as Medlicott had suggested, a man called Cyril Henry Hoskin, the previously unemployed son of a plumber from Plymton in Devon.

The Third Eye had been such an international bestseller that the world’s press turned up in Howth, outside the Rampas’ house, demanding interviews and photographs. The writer Eric Newby was sent as an emissary for Rampa’s publisher, Frederic Warburg, and he remembers reporters with mirrors on sticks, trying to see in through the upstairs windows. They were even going through the Rampas rubbish bins. Newby himself had problems gaining entry.

Newby wrote: ‘The Lama, his wife said, was dying . . . and it was unlikely that he would live for more than a couple of days.’

Whenever Rampa was asked awkward questions, he was often contracting incurable health problems, was on the very edge of death, or at the very least out of the country when he patently wasn’t. He was undoubtedly quite an unwell man for much of his life, but he would go on to live until he was seventy.

By the time Eric Newby came back the next day, Rampa had come up with an explanation that he had hitherto not thought to share with anyone before. Through a process called transmigration, he said, the Tibetan medical lama, Tuesday Lobsang Rampa had taken over the body of Cyril Henry Hoskin from Plympton in Devon.

Rampa had thus written the book, and Hoskin was just the vehicle! In modern occult parlance, Ramps was a walk-in. There was quite a lot of extraneous detail in Rampa’s explanation about owls and falling out of trees, and this was tidied up and streamlined in later accounts. And no, none of it fits with earlier suggestions that the book was fiction, or had been written for money, or had been written for somebody else called Dr Ku’an. It didn’t explain why he had been calling himself by other names, or why he seems to have claimed academic and medical distinctions (Rampa’s, presumably) before the transmigration in June 1949. It doesn’t explain why Rampa made so many mistakes about everyday life in Tibet, many of which were tidied-up pre-publication, although many more remained in his text. And, being a medical lama in the Tibetan Buddhist tradition doesn’t explain why so many of his spiritual beliefs and claims, as would be made over a series of another eighteen books, appear to owe nothing at all to Tibetan Buddhism, and everything to the writings of Madame Blavatsky’s highly dubious Theosophical Society. Of course, anyone with sufficient interest could ask the authorities in Tibet about the lama who had transmigrated, but on at least four occasions the Dali Lama was asked about Rampa and declared him a fraud, although he was thanked for provoking interest in the Tibetan cause.

For the next twenty-two years of his life, Tuesday Lobsang Rampa does not seem to have ever come out of character. He refused to enter into discussion about his past, preferring to address criticism only through his books, in which he simply claimed that everything he said was true. He would go on to live a peripatetic life in Canada, accompanied until his death by his wife and Sheelagh Rouse (the two women don’t seem to have liked each other overmuch). He maintained correspondences with people, but he broke off with the only friend he had on record, Alain Stanké, because Stanké refused to make a public statement saying that he believed Rampa’s story of transmigration.


There are people today who still believe Rampa, whether he is claiming to talk about Buddhism (which is rarely), or the hollow earth, life on Venus or many other pseudo-scientific beliefs that defy the laws of physics, the laws of probability, or simple common sense. Some, of course, do not know his background. Others, presumably, delight in knowing secrets and wonders denied to the rest of humanity.


 To know a great deal more about the Rampa story, you will need a copy of T. Lobsang Rampa and Other Characters of Questionable Faith, published by Tartarus Press. 

Copies of T. Lobsang Rampa and Other Characters of Questionable Faith in the window of Watkins Books, london, Augst 2025

Wednesday, 5 March 2025

From Fifty Forgotten Records: Ambient: Stars of the Lid - The Ballasted Orchestra

 

For many years, I had no interest in ambient music. I could not see the point of anything that merely played in the background, whether it was melodic, droney or dis­cordant. Music was always something to engage with on a conscious level. To have any value, it ought to demand all my attention.

 

I admit I had liked the Brian Eno pieces I heard on the Jubilee soundtrack, and listening to some of the music on Psychic TV’s Themes had a similar vibe. My real gateway to ambient music, though, was Labradford, who are still some distance from that genre. Listening to other Kranky artists, I discovered Stars of the Lid, and though they have the worst band name since The Big Push, their minimalist classical drone/ambient sound is just as good for listening to while writing, even when the volume is up high—in fact the higher the better. I am convinced there is something going on in my brain that allows the music to focus my creative thinking.

 

35. The Ballasted Orchestra by Stars of the Lid, Kranky, 1997.

I was pleased to find a copy of the original double album, although I later had to buy the 2013 remastered reissue which contains a bonus track. While much of The Stars of the Lid’s music is minimalist classical, or ambient classical, The Ballasted Orchestra is essentially shifting patterns of guitar drone. To my mind, it sounds like huge machinery in the distance, rust red and menacing, but heard from a position of comparative safety, overlaid by the sounds of analogue electrical equipment that is not quite on standby. Things are happening, but because this is not a visual medium, you end up imagining them for yourself, and can only think about situations from experimental films, the names of which you can’t recall, even if the images and atmos­pheres are clearly etched in the memory. The music drifts in a twilight world, and has always helped me to create my own narratives.

Other Stars of the Lid LPs tend to be pret­tier, and their album called And Their Refinement of the Decline (2007) is a superb piece of work, along with The Tired Sounds of Stars of the Lid (2001) and Avec Laudanum (1999). But The Ballasted Orchestra is the record that I invariably listen to while writing.

 


I have seen The Stars of the Lid three times. The first was in Leeds in 2007, with our son, Tim, and Mark Valentine. It was in a disused church, and The Stars of the Lid per­formed with a string quartet while a light show was projected over the vaulted ceiling. It was a breathtaking experience, even though the pews were incredibly uncomfortable by the end of the evening. I knew all their released work by this time and so I was surprised by the last song they played—never having heard it before. I went up to Brian McBride afterwards and he told me it was Arvo Pärt’s Fratres. Their version doesn’t appear on any physical recorded format, as far as I am aware, but it can be found online. (As can the original.)

I subsequently saw The Stars of the Lid at a church in New­castle with Malcolm Henderson, and it was an equally gorgeous, uplifting an experience (with equally uncomfortable pews). I last experienced them live with Malcolm and Rosalie at the Sage II in Gates­head, which was quite different (and infinitely more com­fortable). They toured not only with a string trio, but with a vast old heritage synthesiser with a profusion of leads, plugs and sockets. In the intimate setting of the Sage II, it was a much louder and more physical experi­ence, especially when the bass notes caused everything to resonate.

How much ambient music do I require on record, though? Especially when I listen to it without paying con­scious attention to much of it? The two members of Stars of the Lid, Brian McBride and Adam Wiltzie, both released solo material and had side-projects, all of which have been worth following up. McBride’s When the Detail Lost Its Freedom (2005) and The Effective Discon­nect (2010) are both excellent. Wiltzie’s work as The Dead Texan and Aix Em Klemm (with Robert Donne from Labradford) are also worth listening to. Wiltzie’s recent work as A Winged Victory for the Sullen (with Dustin O’Halloran) has even had some commercial suc­cess.

Going back to Brian Eno, I could finally see the point of his Music for Airports (1979), The Plateaux of Mirror (1980) and On Land (1982). Some of his Apollo Atmospheres and Soundtracks (1983) are equally beautiful, as is much of his Music for Films (1976).


The Strange Case of Tuesday Lobsang Rampa

  Ben Edair in 1958 (left (from Der Stern ) and today (right) In early February 1958 a drama played out in a house called Ben Edair on Bal...