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

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

But I hide hammers. I have several hammers hidden. A hammer is an advantage that you can use when you are driven into the next-to-final corner. A hammer is a sort of insurance. I make fictions as I am assigned to do, and many others also are carrying out collateral and equally weird fictions. But the others do not seem to play as many tricks as I play, they do not seem to hide as many hammers in their hurdles. I try to insure that the fictions that I am assigned to shall rema

Two opposite points on the rim of a rolling wheel cannot both be on the top at once: this is taken as an almost reasonable postulate. But they could both be on top at once if one of them were suppressed by Amnesia. —Matthew Woodbine Junior, in The Three Armageddons of Enniscorthy Sweeny The Three Armageddons of Enniscorthy Sweeny is difficult to discuss, even for those of us who know how magical it is. The difficulty lies in how much Lafferty packs into it. That informational

“I came ashore, swimming and wading through turbulent water. It was early morning. The shore was muddy with engendering mud, and full of promise. It was the year 1923, and I was a young man of no more than a quarter of a century of physical years. I went up that muddy shore and entered into the green and burgeoning years of my life. If I remember to do it, I can come back to that same shore, and to that same year, and have another sixty green and burgeoning years to my life.

Saskia van Uylenburgh “I change history here and now, Saskia. I paint forgeries of things that would not exist for a generation yet, and now will never have existed.” — "Dutch Master" Doodkiststraat: A street in Amsterdam where the death-house and Dead Christ Church are located. The name literally translates to “Coffin Street,” reinforcing the chapter's focus on mortality and the blurred lines between life and death. — Half a Sky After that, Dana and Galopade were following t

“Molasses is a little like amber,” Diogenes said. “It flows so slowly that sometimes it seems to be solid. Creatures can be imprisoned in it and apparently be held motionless in it. They must deceive themselves as to their own time scale, for if they do not deceive themselves they will be dead . . . . Things can not have been going on for the orthodox time at the orthodox pace.” — "Out of the Molasses Trap" “There are no duplications in the Pristine World, and there are no no

I have total freedom to do whatever I want to do, but at this point in time I am enjailed in a pokey or slammer in Boondocks New Jersey. — “The Wheel and the Shoosh” (unfinished draft) Lafferty was extremely good at getting the most out of his drafted material and ideas. Almost everything gets used, as if he were dealing with a buffalo. Over the twenty-plus years of his writing life, as he turned out the huge corpus, he seems to have made most of it work. There are the unwrit

There came a roaring like horses in the sky. Then was the multiplex crash (God save his soul, his body is done for) of bloody torso and severed limbs falling into the room froma great height, splintering the table at which the five of them sat, breaking the room, splattering them all with blood. But the ceiling above was unbreached and unharmed and there was no point of entry. “I am not man enough even to watch it,” Buford Strange gurgled, and he slumped sideways unconscious.

“Your machine can say how old a thing will be in its totality, but it can’t say how old a thing is right now?”— “Mostly it can do both. The present orientation can nearly always be coaxed out of it, though the clock considers the present of little importance. This is no gadgetry, people. It is positive science and it is wonderful.” “The block has solved many problems of involution and devolution,” Barnaby said. “Naturally the clock does not accept evolution, or has any intell

My working theory is that the best chronological anchor for The Devil Is Dead is Lafferty’s statement that “the Brunhilde sailed on November 7, a Friday morning.” Lafferty is usually vague about the year. Here he even says that “the year is uncertain.” Yet he does something unusual: he gives the day of the week, thereby creating several calendrical locks. November 7 was Lafferty’s birthday, which makes the specificity suggestive. Within the plausible postwar range, November 7

Philip Henry Gosse (1810-1888) "Yes. The creator could save himself a lot of trouble by setting beginning very near the end. He could make it all its mementos and history and cosmic evidence whenever he chose, or as late as he chose." "Yes. He could make it all at the last moment, all complete, and who would know the difference? He could make it between the moment that he had Gabriel set lip to horn, and the moment that he sounded that last (and only) note." "And if he c

But all the clocks in the city Began to whirr and chime: ‘O let not Time deceive you, You cannot conquer Time. — W. H. Auden, “As I Walked Out One Evening” Often, and now more often, Vincent felt that he was touching the fingers of the secret. And always, when he came near it, it had a little bit of the smell of the Pit. “The Six Fingers of Time” is a prenucleation Lafferty fantasy that already bears on questions at the center of his imaginative project: how to think the diff

Yes, I believe that there will be a coming of Christ, an actual physical appearance, comprising the eternal incarnation, redemption, and resurrection. So did Christ believe this and repeated it many times. It is to be believed literally, down to every jot and tittle of every letter. Those who have had visions of the Coming (the First and Second coming are non-sequential aspects of the same event and are neither first nor second), those who have had apparently authentic vision

And the four beasts had each of them six wings about him; and they were full of eyes within: and they rest not day and night, saying, Holy, holy, holy, Lord God Almighty, which was, and is, and is to come. — Revelation 4:8 “And I’m on the verge of doing away with all eyes except one pair to a person,” said Mary Fat-Land. “All of them except one pair are an illusion anyhow. Let me touch my mind to that Illusion of an Exuberance of Eyes as I might touch my cigar to a child

“But others of them fabulously describe the passion and restoration of Sophia as follows: They say that she, having engaged in an impossible and impracticable attempt, brought forth an amorphous substance, such as her female nature enabled her to produce. When she looked upon it, her first feeling was one of grief, on account of the imperfection of its generation, and then of fear lest this should end her own existence. Next she lost, as it were, all command of herself, and w

Blessed is the man that walketh not in the counsel of the ungodly, nor standeth in the way of sinners, nor sitteth in the seat of the scornful. But his delight is in the law of the LORD; and in his law doth he meditate day and night. And he shall be like a tree planted by the rivers of water, that bringeth forth his fruit in his season. — Psalm 1:1–3 “Scorner’s Seat” is a pungent, funky slice of Lafferty—a story full of algae and sewer stench. It grew out of his correspondenc

Now the story of Christ is simply a true myth: a myth working on us in the same way asthe others, but with this tremendous difference that it really happened: and one must becontent to accept it in the same way, remembering that it is God’s myth where the othersare men’s myths: i.e. the Pagan stories are God expressing Himself through the minds ofpoets, using such images as He found there, while Christianity is God expressing Himselfthrough what we call "real things." — C. S.