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From the very top you would be able to see whole islands that nobody else had seen, to see whole ships They are all special pieces of the Lafferty canon, and one wishes Lafferty had written more like them Readers first encounter one of Lafferty’s great images of childhood: piracy as the Laffertian correlate it is rendered with Lafferty’s genius for the grotesque. A significant Lafferty coinage.

Each represents a rough precinct of (parodied) modern knowledge (which, following Lafferty, we might syllabus of post-consciousness); each “doctor” has a professional deformation and advances the themes Lafferty I think of him being the way Lafferty saw Jung: very wrong, but not quite as wrongheaded as many other Each specialist's deformation distorts of the movement toward that perfected whole, which Lafferty calls beyond that McCory's endlessly enchained mathematics, which ties into what I have elsewhere called Lafferty

That is superior Lafferty. Surely catnip for Lafferty. a stalwart champion of Lafferty’s reputation. reach for Jonathan Swift rather than for the broader Western tradition of floating islands and the whole Lafferty has a word for Weberian people.

in terms of speed of Lafferty invention and sheer compact Lafferty voice. My sense is that “Aloys” is a Lafferty story that Lafferty readers remember, even if it doesn’t get talked This time through “Aloys,” I started thinking about one of Lafferty’s whole approaches to scientific And he ends with praising elegance, the way Lafferty does in the Black Hole review piece, alluding to Lafferty have disagreed with?

Lafferty readers must have been excited for a new Lafferty. No Lafferty readers seem to understand it. This is where Lafferty shoots his flare gun. is an esoteric writer in the whole. Lafferty owned IHR material that said it was. Now think about the Holocaust, which Lafferty denied.

It’s Down the Slippery Stairs” A few quick notes on being totalizing: I believe readers need a total Lafferty But in Lafferty’s case, you lose something essential by ignoring it outright. In the same way, Lafferty totalized because he was an old-fashioned Catholic—and Catholic  means universal The irony is that people haven’t yet assembled enough of the logocentric Lafferty even to deconstruct Lafferty, as we know, disliked Marxists.

Now we must apply what we have said of the part to the whole living body. For the same relation must hold of the whole of sensation to the whole sentient body as obtains between It is a little criminal, given how little Lafferty cared about making a great deal of money. Lafferty writes that Jack’s eyes “broke then, and gushed away in two scarlet streams.” Lafferty writes that Jack is dizzy and feverish, surrounded by coruscations and flame.

And then the wheels start rolling, rolling, rolling, ur-Lafferty, Lafferty’s most primitive version of traits and actions cohere into an intelligible whole by way of trace. Lafferty throws that out the window. He can hear, in the groan and rattle of approach, not just a wagon but a whole train of them, each with with the tongue “pegged” to the undercarriage or axle so that turning becomes a matter of dragging the whole

This is a Lafferty twist on Exodus  17:1-7 and Numbers  20:2-13. Another thing Lafferty is doing here is pushing his ongoing critique of the media. In Bochtan’s death, Lafferty gives us the worst version of both. This isn’t an oversight; it’s the whole point. While Lafferty often pulls against definitive endings, here the lack of closure suggests, at least to

Many Lafferty readers know Esteban exist s . Lafferty mentioned it. He makes for a good Lafferty protagonist. Lafferty is writing according to his own novel's pattern. This is what the whole passage looks like in Esteban : There is a break here which we cannot fill Dorantes began to laugh as he had not for a year, and he declared that he had a whole life left such

Lafferty would call that dog dirt. His corpus is not unknowable. One of the pleasures of this hobby project has been getting to know the whole shebang. Background logics are essential for grasping Lafferty’s larger blueprints. For Lafferty, the exhausted form was long-form fiction. I have come to see it as Lafferty’s lost-in-the-wilderness work.

A warning at the outset: this post begins with an early and pretty innocent Lafferty sex farce, then Sex is all over Lafferty. It is symptomatic that people miss this. It is here that Lafferty’s own libidinal interests enter the story in a compromised form. No one thinks of Lafferty as an erotic writer. Lafferty enjoys it.