— Lafferty, letter to Sheryl Smith, October 1, 1971 This will be of interest to about three people. Sheryl Smith, Lafferty’s first strong critic and his clever correspondent, ran a computer consulting In the 1990s she was working on a major Lafferty essay that never appeared.

Lafferty lately, so here’s a quick sketch, more a prompt than a full argument, with a way in. Dick and Lafferty share an obsession: the twentieth-century recovery of Gnosticism as the problem of The divide, as I see it, is this: Dick makes Gnosticism post-Cartesian; Lafferty keeps it pre-Cartesian Lafferty, by contrast, writes as if the cogito isn’t the center of the universe. Dick worries about the prison of the self; Lafferty worries about the prison of consensus reality.

A Lafferty story is almost always told-not-shown. Lafferty is, as we know him, a genial storyteller whose fantastical stories are unprecedented in style stuff on Lafferty digs into this. Lafferty was all about it, I say. Much of my analysis centers on how his characters are not whole but rather splintered selves, doubles

Do you think I would tackle Belloc unless I had my whole case very carefully prepared?” He thinks you can walk away with Lafferty by subtracting too much of the real Lafferty. Daniel Otto Jack Petersen uses Lafferty to explore ideas that interest him because Lafferty interests The upshot is that Petersen usually argues illustratively, turning Lafferty into “Allegorical Lafferty That was how Lafferty thought. I hope someday someone unciphers the Lafferty.

Nasty Lafferty is Late Lafferty. Quarantine the problem for Lafferty Studies. It emphasizes a narrative of personal intensification while erasing what we might call Deep Lafferty—the Belloc set Lafferty’s benchmark for writing, and Lafferty left his readers with a knot. For Lafferty, he was a living figure, dying in Lafferty’s early middle age. In his Autobiography (1936), Chesterton described the scandal as “one of the turning-points in the whole

This isn’t to say that Lafferty’s readers are inattentive. It is a great place to start wrestling with Lafferty. It is enthusiastic. Here’s Lafferty: “Wilderness Wolves you be," Thomas said. I don’t know how many Lafferty readers privately care about this kind of thing. If we take Lafferty’s work seriously, we have to get these details right.

"The principal difference is that Lafferty plays them for laughs and sheer absurdity—his mode is the If Paul Bunyan had not come first, Lafferty would have made him up." Once again, someone explained Lafferty to everyone in the Facebook Lafferty group, and it was what one Lafferty, teller of tall tales. Over there, that's Paul Bunyan. Here are a few reasons people might want to rethink this tiny box Lafferty gets placed in and consider

Lafferty’s In a Green Tree contains the titles of many works and makes allusions to others. Sua and Grammar of Assent Noyes, Alfred: "The Highwayman" O'Casey, Sean: Mentioned as a playwright whose O'Neill, Eugene: Mentioned as a playwright whose works were read. Rambaud, Alfred: Civilisation Française Rice, Elmer: Mentioned as a playwright whose works were read. Reader Symonds, John Addington: Renaissance in Italy Synge, John Millington: Mentioned as a playwright whose

Advanced Lafferty today. Let's do it to Lafferty: Lafferty takes the bones of this earth-and-sky myth (or something close to it Lafferty. to understand it as part of the whole Lafferty, not just one story amid others. We know that Anteros is, in some way, flat (Lafferty says so), so he cannot be taken as the whole truth

"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.

Advanced Lafferty today. Lafferty fans who want to think with Lafferty should read it closely. I agree that this kind of figure does appear in Lafferty. Consider eating in Lafferty, an obsessive topic for him. Eating is a major Lafferty theme, a complicated image, and it is a source of ideas for Lafferty.

The English translation below restores Lafferty’s original wording wherever Inoue quotes the novel.