Another of Lafferty’s parables about being and nothingness. in 1962 and then reworked, making it one of the first instances of privation as hungry maw, a major Lafferty It says that while men are mortal, they will always need a partner. This is a primitive version of the privation trope that Lafferty will explore until he ceases writing I suspect that is one of Lafferty’s etymological games, just as KLM is, for KLM looks like a Hebrew joke

The Three Armageddons of Enniscorthy Sweeny is my favorite longer Lafferty work. This is some of the best horror in Lafferty.

Chapter Five brings an interlude in which the reader sees Atrox at work and finds Lafferty speculating After Jane Chantal Ardri has been killed by a nine-foot feather, one of Lafferty’s grisliest deaths, This is straight out of Lafferty’s toolkit: the old Platonic-Augustinian doctrine of degrees of being More specifically, I think Lafferty is making something like the Thomistic endowment of the glorified What Lafferty does next is typical of his fiction, but it can frustrate a reader.

The difficulty lies in how much Lafferty packs into it. That informational density gets too little attention in Lafferty circles, though it is the primary subject Instead of sorting through the maelstrom of informational lint that Lafferty picked up (and I love those You also know that Lafferty courted that impression. Had he not, would he have made it into print?

Kevin Cheek sometimes says that “Through Other Eyes” is Lafferty’s perfect science fiction story. It is one of Lafferty’s earliest thought experiments about the relation between machine and person. If people begin to think more deeply about the relationship between Lafferty and AI, it will play an Trotz knows that’s time enough, because the aliens are landing in one of Lafferty’s early apocalypses Lafferty flags it for the reader as being relevant to the inquiry: "How know? Per se? A se?

Advanced Lafferty: "The Rod and the Ring." Lafferty told Hiroshi Inoue that he had read several of Wittgenstein’s works. the weird box The Rod and the Ring game arrives in, which I take to be Prime or, here perhaps, the whole As I have argued, Prime in Lafferty is characterized by what philosophers call underdetermination.

Spring Break here in Houston, so I'm off to Tulsa to do some more work on Lafferty.

Chapters in a Lafferty novel are always half misleading because he thinks in subchapters, episodes that They are devils—but devils in Lafferty are tricky things. This approach reflects a view that Lafferty put in the following way: “Leaving aside all testimony of Lafferty even defines their three functions, which are under-discussed. Lafferty refuses to do this. Instead, he steps back.

Early on, when Lafferty was considering how he would use the Watkin material that would eventually find He is called “the man of a kaleidoscope,” and then Lafferty shows us why, laying color upon color in

Because she has not yet been born, and, more importantly, because Lafferty had not yet written the last Lafferty writes that "Dana's surname was always spelled Cosquin in Basse-Terre, in the early written-down In chapter seven, Lafferty lists the three sons, and he says it again: "Yes, their names were Cosquin This means that the spelling in The Devil is Dead is not a slip, or if it was, it was one that Lafferty Lafferty writes that "On Basse-Terre, a god-mother is always able to make a true prediction about the

While enjoying it, I’ve been thinking about metaphor and the way Lafferty uses it. Of all Lafferty’s novels, Arrive at Easterwine is probably his most metaphorically difficult. Read metaphorically rather than as a literal measurement, Lafferty’s concept of strobe vision is like Because people tend to treat metaphor as inherently propositional and disguised, and because Lafferty The same question applies to Lafferty’s affection for what look like lies and tall tales: these, too,

Although the Lafferty letters I have read never mention it, MINDWEBS adapted his “Hands of the Man” and