." — Umberto Eco, The Name of the Rose [Advanced Lafferty. The Lafferty gamble is that it isn’t, and it can be faced. I think Lafferty would have rejected the first view and qualified the second. Lafferty will make the laughter open through many Gnostic comedies. The dotted ties. Lafferty in the book will bring him squarely into view.

rustics, dowagers, the too fat, the too thin, banana oil, gold diggers, mothers-in-law, visions of whole I point this out because a reader of Lafferty’s 1959 short story “Try to Remember” will miss much of Read that way, it will amuse, but the story originally depended on Lafferty’s readers being familiar Lafferty is being very Lafferty here. Lafferty is very funny about all of this.

I have simply come to associate it with a way of reading Lafferty that I reject. Second, I do not believe that it even begins to capture Lafferty’s point. "Of course," said Ceran, and the small laughter of unbelief flittered out from the whole multitude of Many Lafferty fans identify with this man and his confusion. Lafferty writes, “They were kind and serene.

That is one of my favorite passages in Lafferty. The story is early Lafferty. Maybe it really is that simple. Lafferty could have left it there. It, too, is a theme Lafferty revisits throughout his work. It is perfectly compatible for Lafferty to endorse his kind of semi-radical perspectivalism while still

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 most clearly 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

. — Handwritten note On November 18, 1992, Lafferty wrote to Patrice Duvic about his story “Selenium Understandably, Lafferty had a hard time visualizing how it worked: “Even with Nipkow, his ‘spirally In "Selenium Ghosts," Lafferty makes one of his amazing leaps. No scanning disk could produce what the receiver in Lafferty’s story reveals. Lafferty’s wish for an illustration did make me curious, though.

Lafferty uses the genre in several places. The prototype of the Improbable Club in Lafferty is Club Mentiros, or the Liars’ Club. Read Esteban, however, and you learn that Lafferty does not use Club Mentiros as its frame. Instead, Lafferty uses Club Mentiros as a setting. What happened? Ferguson has worked through how Lafferty gave the original version its SF chrome.

A while back, I wrote a post on how Ferguson reads Lafferty on reality to clarify my own way of reading Does Lafferty favor some form of open-ended totality? Consider how much of Lafferty must be prefiguratively part of Prime. Any view of openness in Lafferty needs to address this constellation of ideas. The test is always how much concrete Lafferty a model can explain.

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.

Lafferty was an avid reader of Belloc, so it is unlikely that he did not know the book. Lafferty picked that verb carefully, knowing in Latin it means “to hold up.” This is where Belloc and Lafferty only seem to part ways. Trashiness is Lafferty’s trashed-life principle under aesthetic judgment. Belloc’s situation, Lafferty assumes, was not like this.

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.

Lafferty loves technological dead ends and byways. Lafferty’s short story one-ups McDermott’s mystery of the lost panoramas. Charley, you can't find a brush stroke in that whole picture! Not in any of the real ones.” One publication even calls it one of Lafferty’s simplest. That is Lafferty's sacramental poesis again. That much is easy.