So does Hell seem an altogether pleasant place, when it comes with its both hands full of enticements. —Where Have You Been, Sandaliotis? Some interpretations on the blog will seem really out there. I would defend most of them with a fairly high degree of certainty, from arguments about being inside a female reproductive system in “Flaming Ducks and Giant Bread” to the reading of “Junkyard Thoughts” as a story about a mental breakdown taking the form of a dissociative episode

A Rat-King The plot has all the unhinged unity of any shipwreck. And there is movement and force and power. Power above all! This is Destruction as pageant and presentation. One has the feeling that something very large will come out of all of this. Yes, like the destruction of the world. — The Three Armageddons of Enniscorthy Sweeny (p. 352) My second read showed pretty clearly why I remembered merely the premise and little of the plot: there is little plot to remember, in a

The face was skinny and ruddy. The nose was powerful and beaked; not like that of a bird of prey but like that one of the Roman-nosed water birds. The nose was always peeling, as though it were growing out from the inside and flaking off in those strips. That gnarly ant and aphid image with its glistening drop? Really important for understanding 3A. Nuts and bolts or maybe bolts and nuts. The Three Armageddons can melt one’s brain, so I think it's helpful to have a baseline f

Give me back the Berlin wall Give me Stalin and St. Paul Give me Christ Or give me Hiroshima Destroy another fetus now We don't like children anyhow I've seen the future, baby It is murder —Leonard Cohen, “The Future” As to your selecting the name “Kirol” that was just to preserve you from a little numerological trap. Advanced Lafferty. In my last Three Armageddons of Enniscorthy Sweeny post, I called the book one of Lafferty’s most Catholic works because the bloodshed o

Any statement can be held true come what may, if we make drastic enough adjustments elsewhere in the system. —W. V. O. Quine, “Two Dogmas of Empiricism” (1951) Even so, something was a little bit wrong with things. Some people said that the days were off by maybe a millionth of a second from what they should be. Other people said that the days were off by several hours. They were off, that’s certain. There was an easy solution, of course, for a mechanically sophisticated

Anthony Quinn's illustration of Mad King Sweeney Eorann: All the same, I would prefer a hollow tree and Sweeney bare — that sweetest game we used to play — to banqueting with him today. I tell you, Sweeney, if I were given the pick of all in earth and Ireland, I'd rather go with you, live sinless and sup on water and watercress. — Seamus Heaney, Sweeney Astray “I suppose that I had better take up my den in the tree,” Enniscorthy Sweeny had said. “They won’t know how to drive

About Sweeny’s work, those endless and topless mountains of music, and the rivers of words that run like waterfalls out of those mountains, is it really influencing and creating events in the world? Yes it is. And the music is much more powerful than the words in these creations. Alexandr Scriabin (1871–1915) went out in a bad way. A pimple on his upper lip developed into an infected boil. Attempts to lance it failed to stop the infection. There were no effective antibiotics

The Three Armageddons of Enniscorthy Sweeny is my favorite longer Lafferty work. One of its major ideas is silent radio, the drama that goes on inside us without being spoken or shown, yet somehow passes between us and enters the world we all share. Silent radio carries the ordinary richness of life, its pleasures, loves, and possibilities, but it also plays horrors that no one seems able to stop. Sweeny thinks he composes his own inward programs. He finds other people receiv

Bernard Baruch with JFK The Three Armageddons of Enniscorthy Sweeny is so damned slippery. “It is slippery, General, slippery,” Austro said modestly. There will probably never be a consensus about it—how it works, what it does, what it says. The book overloads the mind. It arrests thought. It does so deliberately, aggressively. That is why serious Lafferty readers should think hard about it rather than settle for confusion as an endpoint. Aggressive Lafferty is interesting La

“A book must be the axe for the frozen sea within us. That is my belief.” — Franz Kafka, in a letter to Oskar Pollak (January 27, 1904) I'm under the weather, taking a sick day, and thinking about The Three Armageddons of Enniscorthy Sweeny. This will be a response to a great Thomas Flight video I watched on YouTube. In my professional life, I push for colleagues to embrace new technologies, a stance that can be quite polarizing. Many of my colleagues take a “burn-it-with-fir

“People are easily fooled. But there are tests for reality." — The Three Armageddons of Enniscorthy Sweeny This will be the last I have to say about Lafferty’s Holocaust denial for a while, unless it becomes directly relevant to an argument about a specific story. I have thought a great deal about what an intellectually serious counterargument to my work on Lafferty and Holocaust denial would require, as any responsible person would. The first and most significant obstacle is

Oh, as to details, the music of the opera, though rotten, is superbly rotten. The costuming and staging is splendid. And all the singing is powerful. The plot has all the unhinged unity of any shipwreck. And there is movement and force and power. Power above all! This is Destruction as pageant and presentation. One has the feeling that something very large will come out of all of this. Yes, like the destruction of the world. . . . The story lines, although the world is confor

“People are easily fooled. But there are tests for reality. If a thing is burned up, then there will be a residue of ashes and gasses. But if there is not such a residue, and the things appears to be unchanged, then it is not acting as if it were burned up.” — The Three Armageddons of Enniscorthy Sweeny, p. 357 “But if indeed six million Jews were killed (between a third and a half of the Jews in the World, and more Jews than were in the maximum area ever controlled by the Ge

“People are easily fooled. But there are tests for reality. If a thing is burned up, then there will be a residue of ashes and gasses. But if there is not such a residue, and the things appears to be unchanged, then it is not acting as if it were burned up.” — The Three Armageddons of Enniscorthy Sweeny, p. 357 “But if indeed six million Jews were killed (between a third and a half of the Jews in the World, and more Jews than were in the maximum area ever controlled by the Ge

“Noël! Noël! Noël! Noël! A Catholic tale have I to tell!” — Hilaire Belloc, "Noël! Noël! Noël! Noël! "(1910) "I stand by all that I wrote in the ‘TOLKIEN AS CHRISTIAN’ essay, but I don’t understand why Tolkien acted and wrote as he did. One of my friends has insisted that ‘EVERYTHING that Tolkien wrote was in a sort of cipher.’ Well, I haven’t been able to uncipher it, nor to uncipher the effect he has had on so many people." — Lafferty, Letter to Al Doty, September 4, 1993 “

Hilaire Belloc (1870-1953) ​​​R. A. Lafferty unequivocally, categorically denied the Jewish Holocaust. This is sad, and inevitably complicates any discussion of his work, though the fact itself is not complicated. I used to be annoyed by Robert Silverberg’s comment that people knew there was great sadness in R.A.L. It was patronizing, and it didn’t make sense, but it is coming into focus for me. The Holocaust materials should be documented in the Tulsa archive in the McFarlin

From Salvador Dali's The Elephants (1948) When a topos has acquired sufficient ornamentation, it is blessed, or it is cursed. If it is blessed, it becomes one of the Holy Lands. If it is cursed, we don’t know what it becomes. The Three Armageddons of Enniscorty Sweeny About that time, the mad cartoonist J. P. Dordogne invented just such an animal in his comic strip. It was a big, comical, rock-eating animal. It struck the popular fancy and humor at once, though it di

“Fully retractable, rhodium-plated. Dort glide. Ramsey swivel. And it forms its own carrying case. One dollar,” the man said. “In Our Block” is one of Lafferty’s lighter stories, written in his 1960s amuse-bouche mode. Between 1966 and 1972, he was nominated for seven Nebula Awards, and this was the first. Two men, Art Slick and Jim Boomer, stumble upon a cluster of makeshift shacks, each more improbable than the last. Inside, they find people who can produce, sell, and ship

Saying these novellas are about consensus reality doesn't say much, so can we do better? Here is my attempt. The Three Armageddons of Enniscorthy Sweeny and Where Have You Been, Sandaliotis? present opposing secular heresies regarding creation, providence, human freedom, and social meaning. On one hand, we see consensus reality as the result of absolutizing determinism in Armageddons. On the other hand, we see it as pure social constructivism in Sandaliotis. By placing two ex

In The Three Armageddons of Enniscorthy Sweeny, consensus reality appears as a centralized construct, and Lafferty’s main concern is the diachronic process, the way that consensus forms and transforms over time. In Where Have You Been, Sandaliotis?, the focus shifts to the synchronic: the structure of consensus as it stands at a given moment. A central philosophical conflict in both works arises between Platonic realism and philosophical nominalism. I think Enniscorthy Sweeny