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The ethos of this blog is something in Lafferty’s Serpent’s Egg  (1987). That might be my favorite moment in Lafferty's work. It’s a book made entirely of strange turns, and throughout, Lafferty plays a game with the reader unlike Lafferty provides an essential piece of insetting in the first chapter: "Through the night, [Constantine Current notes: Part of Lafferty's inspiration for Sandaliotis was Charles Fort's New Lands, 1923.

For months, I have wanted to write about some remarks Lafferty made to Robert Sirignano concerning the Lafferty did believe in devils, so he didn’t treat them as monsters, but as devils. Now seems like the right moment to bring it in, especially because it opens onto the oceanic, Lafferty “I believe in the Devil,” said Lafferty at a convention. “He’s right here in this room.” It is a significant part of the totality of Lafferty. (p. 164–166).

First published in If  in March 1962, “Seven-Day Terror” is one of Lafferty’s better-known stories. This is Lafferty at his clearest, celebrating domestic chaos with one fixed idea: the family is stronger I like them a lot, so I thought I’d post the notes and graphs I made while thinking about them.

“In Our Block” is one of Lafferty’s lighter stories, written in his 1960s amuse-bouche mode. One of the best moments is when Lafferty's go-to lager, the king of beers, gets disrespected. This could be Lafferty having fun with the “measurement problem” in quantum mechanics. In a 1940 review of Sweeny’s Armageddon II , Lafferty has a fictional critic write: “For us, the most Of that period, Lafferty writes: “And there was the constant wealth that was clogging everything.

The Secular Scripture Today I want to look at the revisions Lafferty made to “Old Halloweens on the Guna Overall: Lafferty mixing dark humor and eerie supernaturalism from the start. In this way, the two versions of “Old Halloweens on the Guna Slopes” present Lafferty working through Why did Lafferty make these changes? We can only speculate. Lafferty, R.A. "Old Halloweens on the Guna Slopes." Fantastic , August 1975. ———.

A sequel to Lafferty’s great short story “ Frog on the Mountain ,” “In Outraged Stone” offers a variation story is slippery on this point, and in his notes on the story for the Ringing Changes collection, Lafferty This is a fun moment in the story, with Lafferty sneaking in the secondary character , Helen. Lafferty introduces her as having less substance than the others, and, most importantly perhaps, the When Lafferty begins the last paragraph of the story with the line, “Go see it in the Oganta Collection

But what Lafferty does is so different—that’s why I say the echoes are dim. While interesting on its own, it serves more as misdirection than as the heart of Lafferty’s engagement Lafferty creates Austro to solve this problem. It is an essential background for understanding what Lafferty is doing in “Animal Fair.”   The sleep itself is one aspect of Lafferty's tardemah theme.

Beyond these historical and narrative layers, the story advances Lafferty’s demiurgic themes from the But all of them take place within Lafferty’s major theme: the nature of time itself. However, this distinction lies beyond the story’s scope and is included here for clarity and because Lafferty The flaming wagon is what I call an example of Lafferty’s iconographic insetting, where an image becomes This technique shows how events from one moment recur in subsequent replays, reinforcing Lafferty’s central

Fort occasionally influenced Lafferty, even when the word Fortean does not appear. In “Pebble-Stones,” Lafferty reverses the miracle: Fort’s damned is Lafferty’s blessed, holy gift. Of course, Lafferty often has more up his sleeve, which makes this story even more fun. November 7th was Lafferty’s birthday. The footnote is the deeply buried thesis, which is a nice bit of Lafferty humor.  

That’s Blarney Castle in County Cork, which Lafferty likely had in mind when he wrote “Square and Above of Fantasy & Science Fiction , with an editor’s note calling it vintage Lafferty. It’s not vintage Lafferty; it’s Lafferty doing something vintage, his own way. Like many of Lafferty’s works, this is a parable about amplitude. Lafferty used to give this book to younger friends he thought were smart.

Having this on my mind, and rereading Lafferty’s “Royal Licorice,” made me think of Newman’s great poem “Royal Licorice” is a comparatively simple Lafferty story in the mold of others I am especially fond In them, Lafferty slows down and spends more time painting the scene than he usually does. They regain energy but lack judgment, and Lafferty gives the reader a great ending, showing these failed Lafferty calls this restoration of salad days a "Springtime of the Giants."

What Lafferty makes fun of here is captured well by the complexity of the issues involved . The idea of there being endangered species became common coin in Lafferty’s lifetime. When Lafferty was a young adult, the idea of endangered species became formalized through science and Lafferty finished his story in February of 1973. Lafferty’s story has a good time making fun of all the seriousness in the national discussion at the