Idolatry is distinguished from Image-worship by an undue finality. It rests in the relative as though it were the Absolute, worships the creature, the image and vehicle of the Divine Spirit, as though it were that Spirit. — E. I. Watkin, The Bow in the Clouds Here is one of the more complicated clusters in the Lafferty canon: four stories, all published in 1973, that form a sequence within The Men Who Knew Everything . The ongoing Centipede Press edition chose to break them u

"I examined the four walls, the carpeted floor, and the ceiling of the room. There are only six interior sides to a regular room like mine, and if they are secure the room should be secure." " . . . my girl friend Rosemary Korff told me, ‘but now you have acquired a mind without boundaries and a personality without a center.’ So I went about fixing drinks and cheeses and taco dips for my guests . . . at my own Party Without Walls." There are so many memorable birds in Laffer

The world's a blast (Ka-whoosh! Ka-whish!) With healthy soul and belly, And all the skies are full of fish, And all the fish are smelly. Charles Fort’s Super-Sargasso Sea comes up on the blog from time to time. Judging by the number of variations Lafferty gave the idea, he loved it. Oceans, seas, rivers, springs, and other waterways are a major part of his corpus. He uses them to write about time, the unconscious, and the suprahistorical. Yet there are the twists. For instan

"Are not Abana and Pharpar, rivers of Damascus, better than all the waters of Israel? may I not wash in them, and be clean?” So he turned and went away in a rage." (2 Kings 5:12) Part of The Men Who Knew Everything  cycle, “Rivers of Damascus” is one of Lafferty’s standout stories. It is also one of his great meditations on the nature of history. I view it as a spiritual sequel to an earlier and more accessible "Thus We Frustrate Charlemagne" (1967). At this point, Lafferty h