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His escape route from those constraints turned out to be what he created, the ghost story, the whole Lafferty, what the resources on the blog try to make available to Lafferty readers. That is hostile, but it was the Lafferty hostility Lafferty brought to the megatext as evinced by his minds at once, or talk coherently about the novels as an interconnected whole. While the previous points concern how  Lafferty builds his worlds, this final point concerns what he

Of Bierce, Lafferty said, “He was a mixed comic and horror writer. So many of Lafferty’s stories are built on moments like that. In “Dig a Crooked Hole,” Lafferty imagines a kind of science fiction with Bierce, not Wells or Verne, Lafferty’s brief alternative history at the beginning of “Dig a Crooked Hole” is easy to skim past, but “Dig a Crooked Hole” is one of those stories in which Lafferty is doing his Fortean thing, making the

— Arrive at Easterwine “The Hole on the Corner” is near the top of my favorite Lafferty stories. Or such is Lafferty’s reading of Jung in this story. But Lafferty is going to do what Lafferty does: turn Jung inside out. Lafferty writes: "'I don't know, Corte,' he said to me. “The Hole on the Corner” is one of Lafferty’s masterpieces: funny, tightly plotted, ingenious, dark,

, which makes it one of Lafferty’s allegories. I situate it within the whole Lafferty inside Lafferty’s sequence of stories about the law of intellectual The abundance of it is the whole thing. It cannot be rich and detailed if it isn't abundant. [...] Lafferty is making a point about spiritual goods. Lafferty’s message is, it happening to you, right now.

Lafferty reconfigures the earlier materials. That will be part of understanding the Whole Lafferty. In the manuscript, Barnaby says that sequential evolution “tried to set the whole of the many-dimensions So here is a question: what is Barnaby’s whole clock? major story sequence, both in its own development and in its relation to the wider displacements of the Whole Lafferty.

Lafferty is being so programmatic. Lafferty writes, “Peter Luna was dead.” Now flip all that because Lafferty does. Lafferty . It’s a magical year in the Whole Lafferty.

whole Lafferty , the story becomes legible. This is what I have called Lafferty's half horrors. He is a person whose faith is not sufficient to see, under new aspects, what Lafferty keeps trying to A familiar Lafferty message. Stephen is early Lafferty, but he is also just about as unsympathetic a Lafferty character as one can

"Ballad of Invisible Alfred" Today, I was thinking about Lafferty’s image of pulling the hole in after A whole cosmos of maggotty cheese, turned green in its taint and rot.” Food. Holes. Mouths. He will slaughter the children whom Lafferty has positioned the reader to care about. Now I will say what gets said a lot about Lafferty because it is true. While Lafferty’s deaths are often violent, they are just as often exuberant—joyful, even.

On the left are four pillars with a roof on them, the whole constructed to protect a wooden pillar which Eliot and Lafferty both had a solution: myth. While Lafferty never loses his interest in irony (it is pervasive), he becomes increasingly aware of He becomes the Whole Lafferty . While only Lafferty could have written “Pig in a Pokey,” the story is slyly dependent on repackaging

This is where Lafferty’s satire of Jung is sharpest. If you've read Space Chantey  (1968), you know Lafferty often plays conceptual games of this sort. The final piece of Hopp-Equation Space satire is how Lafferty inflates Jung's cherished principle of In analytical psychology, it’s the psyche’s built-in self-regulation, but Lafferty warps it into the writing his novel: "But how can a human being stand the tension of feeling himself at one with the whole

"LAUGHING KELLY' Black comedy about the burials of several Lafferty characters. Lafferty having fun. "SYLVESTER" Surreal and melancholy. Lafferty was fascinated by the backbrain. Remember what Lafferty says about that . "INTERNAL DOCTOR HARVEY LEE" One of Lafferty's great pieces of light verse.

While thinking about Past Master  (1968), I returned to Lafferty’s short story "Condillac’s Statue or On the whole, I doubt he would have had much patience for it—the philosophical assumptions behind the (I would put money on Lafferty having consulted it while writing the story, likely alongside his copy Lafferty’s subtitle points to what he is up to in "Condillac’s Statue." These are always fun moments in Lafferty.)