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dicta  on pornography in an essay Lafferty wrote. Though it didn’t generate any discussion, I stand by the idea that Lafferty’s most profound fictional The second half of Dotty  speaks more explicitly about sex than anywhere else in Lafferty’s work, but In The Flame is Green , however, Lafferty goes further in setting out a dialectic of eros. Is this Lafferty’s prefigurement of eros as sacrament?

Having read more Lafferty than anyone else, he brings an unparalleled knowledge of the Lafferty archive On Omitting the “Only Valid Environment” Ferguson’s discussion of Lafferty underplays Lafferty’s insistence On Lafferty as the “Toughest Critic” Ferguson describes Lafferty’s collaborative invitation to fellow Ferguson's Application of Ricoeur to Lafferty He follows Ricoeur by saying Lafferty’s “prefigured” background Lafferty’s Theological Non-Negotiable I also think that, for Lafferty, the Incarnation (Redemption) is

Holy Allegory by Giovanni Bellini, Uffizi Galleries Lafferty’s use of allegory is complicated. to depict allegory as a sliding scale: How would this look with a complicated figure like Evita in Laferty's

In thinking about Lafferty's denial of the Jewish Holocaust, one of the more curious items in the Tulsa archive is a letter sent to Lafferty by a founding member of the Remnant of Israel. At the time Lafferty received the letter, the small Jewish group was based in central Kentucky. So how did Lafferty come to donate money to the Remnant of Israel? The most likely author of the original letter to Lafferty was Barton himself.

Lafferty. It’s a significant and thoughtful contribution. While his account is brilliant and fascinating, it leaves limited room for this dimension of Lafferty Or to quote Lafferty, there are no endings. It can’t end. It also keeps Lafferty a metaphysically realist Christian fabulist whose world-making shows that shattered It supplies a stable hermeneutic spine for reading the whole oeuvre, not just one speech.

Lafferty’s short sentences fascinate me. There is a smart essay online that argues Lafferty breaks the rules by telling instead of showing. Lafferty shows by telling: he uses what Virginia Tufte, in Artful Sentences: Syntax as Style , calls One of Lafferty’s signature moves as a writer is to build short sentences using expressive fragmentation They serve as isolating maneuvers that Lafferty uses to build linguistically charged moments of intense

Some notes on Lafferty's planets, especially for those new to Lafferty. Lafferty won't give you anything like that. At some point, Lafferty decided to patch together a universe—one that, to my eye, first really comes Lafferty’s version of planetary romance is to reimagine the Garden of Eden as a con job on the un-catechized In Lafferty’s approach to planetary science fiction, there isn't much concern for seamless canon.

About Lafferty’s Holocaust denial, I want to be on record with maximum clarity. Lafferty was a literary genius of unparalleled imagination and insight. R.A. Lafferty was a crank on aspects of conspiratorial history who embraced a grotesque and evil lie. Like Blake, Lafferty has a cosmological imagination. Like Blake, Lafferty was an enemy of Ulro.

The Reefs of Earth (1968) Reading large chunks of Lafferty is anything but straightforward. This method has served me well in studying Lafferty, though it has led to some unexpected consequences—chief Using an Arabian Nights folklore index while reading Lafferty's Sindbad  sparked a question: what if there were a Lafferty motif index? Still, I’d love to see a proper Lafferty motif index—and I might try again.

Lafferty makes an exceptionally strong claim here. slightly, from Lafferty’s sacramental worldview to his sacramental poesis. This is also why Lafferty immediately brings in the Four Final Things. This is a constant theme in Lafferty. This is why, when a world ends in Lafferty, it isn’t a complete reset.

Sheryl Smith did not write much about Lafferty, but everything she wrote is worth looking at closely.

In the end, his corpus as a whole gave off a sense of teasing incompletion and of secrecy: almost as Imagine I am new to Lafferty. Lafferty used more than nine hundred sources while writing The Fall of Rome , yet he took great care There is the centripetal Lafferty and the centrifugal Lafferty. totality comes from: (a) this genuine cross-text architecture, plus (b) the fact that only part of the whole