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Lafferty describes her as a "nightmare of naturalness." Lafferty sees them. Once again, Lafferty is being etymological. You will probably recognize what Lafferty has done. Like the best Lafferty, it is deeply ambiguous.

These words from The Superstition of Divorce  (1920) shed light on an interpretive crux in Lafferty’s Lafferty explicitly frames her as a holy woman , not a tragic figure. Lafferty’s story leaves no room for ambiguity. The problem is that this would not be the kind of social critique Lafferty was making. Lafferty resolves a dire situation with an improbable solution.

It is about Lafferty, a Catholic man who felt besieged and sacked. the theater of ideas that preoccupies Lafferty. Lafferty is not having it. He calls these things furniture. Lafferty introduces him in the opening pages: ST. Lafferty writes ritual . He does not write sacrament .

Lafferty’s carbon of the letter is archived at Tulsa. The discussion forms part of a broader examination of Lafferty scholarship, specifically addressing how the limited circulation and obscurity of this document and the Lafferty archive have affected prior materials and Lafferty himself denying the Holocaust, and that distinction should be explicit in the I continue to think that academic integrity is a major problem in the Lafferty community.

This is a long Lafferty story but an exceptionally smart one. There are so many ways into it. As far as I know, no one has written about the moral economy of smell in Lafferty’s work. It dazzles, with Lafferty juggling language to track people who aren't what they seem. Lafferty begins by introducing Simon Radert and his wife, Norah. At the airport, Lafferty stages one of his finest set pieces involving identity exchange.

; and this is a people that also unfolds slightly on further acquaintance and also disappoints; for while of their assumed worth is made out of air.” — Carl Curlee, Hell to Pay Hell To Pay is an abandoned Lafferty novel that Lafferty started at some point but didn’t record, then picked up again in 1959 and 1961. What makes it interesting, in terms of early Lafferty, is the Jewish elements and Lafferty's use of the This looks to me to be an example of what I have called Lafferty’s early virtuous antisemitism that ran

One of my categories to understand Lafferty is the oceanic , that place where the undermind of all humanity I don't see much radical exploration here in Lafferty. What did Lafferty think about Protestantism? From Lafferty's correspondence and his fiction, a few points stand out. At the same time, Lafferty is unfailingly irenic.

Drumm Booklet 19 Today, I've been looking at the Lafferty–Gaiman correspondence and thinking about Barnaby Sheen, which led me to think about Lafferty's "Slippery," the title story in Slippery and Other Stories Anyone reading Lafferty with attention ought to see that he is both light-hearted and morally stringent , misses what makes Lafferty matter most by leaving it there, as if either horn were remotely adequate Lafferty's "Slippery" is a textbook example of how Lafferty is both light-hearted and a stringent moralist

human pharynx," Robert Sanders Anyone who reads this blog knows that I think important aspects of Lafferty It is an interesting example of what happens when people read Lafferty and then stop. In a nutshell, this is Lafferty’s earliest science-fiction satire of evolution, written with the rise Its characters are cut off from the enlivening principle of reproduction, a severance Lafferty calls Lafferty’s joke: [Musha] screamed like a dying camel. And he jumped overboard.

And this week, it brought me back to Lafferty, whose fiction overflows with blood, but never without Lafferty’s readers have linked this obsession to Catholic martyrdom and the suffering of the saints in Years ago, Daniel Otto Petersen described Lafferty’s narratives as metaphysical slashers. How did Lafferty understand the metaphysical aspect of his slashers? Lafferty doesn’t preach, but his work often makes it clear when suffering is merited under grace and

Lafferty had a soft spot for Neanderthals and every kind of ape-man. To see how this can play out in Lafferty's work, consider "Boomer Flats," a story whose plot, though As elsewhere in Lafferty’s work, mud and clay carry deep symbolic weight. Wells, the enemy of Lafferty’s heroes, a recurring fight that can reappear when Lafferty confronts his This culminates in a rare move in a Lafferty story.

Lafferty began what became the Institute cycle during the prenucleation phase of the Ghost Story. was doing, the nexus of his thought as a whole. On the matter of the Christological collective unconscious itself, Lafferty probably put it clearest It is no surprise that many longtime readers first encountered Lafferty through the Institute. The Institute’s ending in “All But the Words” was written before Lafferty had even created Epiktistes