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Lafferty rejected this outright. In the Lafferty-Smith correspondence, Lafferty mentions the sages that appear in the final story. In this respect, Lafferty’s letter to Smith is useful because it show that Lafferty conceived of the As with many of Lafferty’s stories, this one is a thought experiment. I doubt Lafferty enjoyed Kierkegaard, but he is on Kierkegaardian ground here.

“Slow Tuesday Night” is one of Lafferty’s great short stories. Lafferty removes the drag of time. Lafferty repeatedly returns to variations on the story structured by clock-time. "Slow Tuesday Night," strange as it is, is a Lafferty utopia, which is to say a dystopia because Lafferty But the test of a Lafferty utopia is simple: it crawls into the bed and murders eschatology.

It is told with Lafferty’s best humor. And there is the legend of John Singleton Mosby (1833-1916) behind the whole Confederate Captain encounter So what has Lafferty done? And here is a very Lafferty touch. These are Hot Licks, another instance of Lafferty using counterfiguration.

I see it instead as one of Lafferty’s angriest early portrayals of societal decline, a theme always central It ends with Lafferty coopting the reader’s perspective, one of his fourth-wall breaks, to introduce Much that would later become more interesting in Lafferty is already present in this early short story For much of his early life, Lafferty remained at least nominally a Democrat, as he once joked, out of Lafferty’s shift to a collective “we,” observing Thomas Castlereagh’s “august hands,” gives us a society

Tolkien, On Fairy-Stories Lafferty disliked Tolkien’s work. Even so, Tolkien is useful for thinking about the Lafferty stories that center on recovery. In “Rogue Raft,” Lafferty pushes back against the dogma that sea levels fall only during Ice Ages. It was the whole world laughing at them, in new mountains that had not been mountains a moment before For anyone interested in tracing Lafferty’s thoughts on catastrophism and fringe thought (beyond old

In that regard, he is an anti-Lafferty from the same generation. Lafferty wrote quite a few stories about it. Lafferty is extraordinary for the amount of coherentism he would allow into his epistemology while remaining So what does Lafferty do in response the situation? It’s why Lafferty has so much use for Charles Fort’s damned facts.

So, instead, Lafferty wrote “Flaming Arrow.” Lafferty wisely discards most of Adams’s world creation. Lafferty isnt having it. Here, Lafferty really goes to work. Lafferty has obvious fun here.

Aurelia aurita I’ve been thinking about Aurelia , one of my favorite works by Lafferty, even though much Today, I want to share a few thoughts on Lafferty’s two Camiroi stories: “The Primary Education of the Recently, I read a charming book by Walter Farrell, whose work Lafferty drew on while writing Aurelia Still, if you want a sense of what I think Lafferty is doing, look at how “Primary Education” blends The last line is the reason I think Lafferty wrote Aurelia.

In Lafferty’s media critiques, he frequently introduces the eidolon . Lafferty does this so smartly that even though everything feels off, he never tips his hand. Lafferty keeps repeating the word glycerin, which is hygroscopic. Lafferty's image for the mass media. Lafferty relies on the reader's moral sense to see how much is broken.

Lafferty’s “Rang Dang Kaloof” is about what happens when a gnome makes them scream. Few Lafferty stories are more direct, and this is one of the few that might have appeared in  Playboy Lafferty writes, “For Flaherty did have something the matter with his heart. So this conceptual division is interesting because of how Lafferty likes to flaunt it. Lafferty would have known that St.

Lafferty to Robert Sirignano I’m fascinated by the philosophical problem of underdetermination. The philosophers who most interest me try to tackle it, and it’s one of the reasons Lafferty fascinates Lafferty has been seen as a post-modernist, or a post-post-modernist, but neither of those are categories Consider what Lafferty says to Sirignano. P1: Lafferty sometimes stages voices to dramatize positions.

When thinking about an issue in Lafferty, it's a good place to start. For Wolfe, hermeneutical pleasure is explicit; for Lafferty, implicit. For both, coherence counts. He called Lafferty's structures plateaus. The short story market did this for Lafferty. It is how Lafferty seems to produce a novel—how he achieves narrative length.