Fantasy Authors

"And in the name of this gospel of freedom, she had imprisoned herself; in the name of "living life honestly," she would go to her death. It was, he supposed, the only way she could make herself feel special."

"The capacity for personal freedom is a rare talent. Talent exists to be used. We do not ask sheep to be wolves; we, the wolves, do not ask ourselves to be sheep. Sheep can make such rules as happen to suit them--but it's foolishly naive to expect wolves to obey.""

"We can each sit and wait to die, from the very day of our births. Those of us who do not do so, choose to ask--and to answer--the two questions that define every conscious creature: What do I want? and What will I do to get it? Which are, finally, only one question: What is my will? Caine teaches us that the answer is always found within our own experience; our lives provide the structure of the question, and a properly phrased question contains its own answer."

"He had no idea what he should do now. Without destiny to guide him, he was lost in a vast, whistling darkness. Any direction he might choose was purely abitary; it would make no more sense, offer no more hope, than would sitting still. Which offered neither sense nor hope at all."

"His destiny had betrayed him, had made him a destroyer on a scale that humbled even Caine. Destiny, he understood with bitter certainty, could not be trusted."

"Only human, after all."

"Caine was no longer the icon of evil, the Enemy of God, the author of all the world's ills. He had become simply what he was: a ruthless, amoral man, now beaten--crushed by the world, just like any other."

"...I suspect that pain means little to you as your life--but both your life and your pain are very important to me."

"Reasons are for peasants."

"The man did not move because only immobility could hurt more than motion: the man held himself still because to move might lessen his suffering, and that he could not bear. For him only pain had meaning."

"He did understand. Finally, fatally, he did. He had thought he was the master of history, that his fractal world-tree had grown according to his will. He had allowed himself to be deceived."

"All true stories end in death."

"Maybe. A powerful. Enough. Metaphor. Grows. Its own. Truth."

"A religion that teaches you God is something outside the world--something separate from everything you see, smell, taste, touch, and hear--is nothing but a cheap hustle."

"Life is mere chance only when one allows it to be."

"Anyone who is of a thoughtful, philisophical cast of mind will occasionaly be struck by the appearance of certain organizing principles of history. The forms these principles seem to take inevitably depends upon one's specific obsession. For a mornachist, history is a struggle of classes of economic civil war. An agriculturalist sees the dynamic of populations, land, and availability of food; a philosopher might speak of the will to power or the will to sythesis; a theologian of the will of God."

"The problem with happy endings," Tan'elkoth said, "is that nothing is ever truly over."

"I respect what is repectable," Tan'elkoth replied. "To ask for respect where none has been earned is childish maundering.And what is repectable, in the end, save service? Even your idol Jefferson is, in the end, measured by how well he served the species. The prize of individualism--its goal--is self-actualization, which is only another name for vanity. We do not admire men for achieving self-actualization; we admire self-actualization when its end result is a boon to humanity."

"Don't care about gods. Gods are irrelevant. What counts is people. What counts is having respect for each other."

"Can't trust a fascist--truth is always your first sacrifice to the welfare of the state"

"A human life is defined by its relationship with others: by its duty to its species. In the face of this duty, life, liberty, and the pursuit of happiness are meaningless. What you call individual rights are merely the cultural fantasy of a failed civilization."

"I read once, somewhere, that the way you know you've grown up is when your future death becomes a stone in your shoe: when you feel it with every step."

"When the gods would punish us, they answer our prayers."

"It's customary, at times like this, to say a few words. A man shouldn't die with no understanding of why he's been murdered. I do not pride myself on my eloquence, and so I will keep this simple."

"The works of R. A. Lafferty (1914-2002) are not too far out be reviewed by an ordinary human being. However, one must reach into an awkwardly positioned dimension to lay hold of them."

"Lafferty has the power which sets fire behind your eyeballs. There is warmth, illumination, and a certain joy attendant upon the experience. He's good."

"No true reader who has read as much as a single story by Raphael Aloysius Lafferty needs to be told that he is our most original writer. … Just about everything Lafferty writes is fun, is witty, is entertaining and playful. But it is not easy, for it is a mingling of allegory with myth, and of both with something more ... In fact, he may not be just ours, but the most original writer in the history of literature."

"What special magic does Lafferty offer? The simple answer has always been his use of language. Well what of it — the field has many who can make a phrase sing or sing a phrase that's the thing. The true answer lies in that his stories sound like they're folk tales. Now I said something very precise there. Lafferty doesn't use the language of folktales, and only rarely uses their rhythm. But he lives so well within the language of his creation that his language — particularly in the combination of slightly archaic folk speech and outrageous etymologies for his words — sounds like language that some one has said somewhere. Yevgeny Zamyatin developed the concept of a "prose foot" as way of internal pacing of fiction. He saw it as a kind of rhythmic device that by causing the reader to remember an earlier part of the narrative became a force for a choral (as in pertaining to choruses) cohesion that bound the story together in a different way than plot mechanics. This method, which I can't detect in Zamyatin's works (since Russian is Greek to me) is the core of Lafferty's work. He has has invented the post-modern equivalent of the Homeric epithet."

"Those individuals looking from within the SF world may lack, or simply disdain, the linguistic and critical skills needed to begin to reveal that in Lafferty's work there is much more going on than meets the eye. The brave individuals who have attempted to do so have either merely produced fulsome praise or attempted to classify Lafferty's writings on the basis of superficialities (i.e., calling him a surrealist). Lafferty's use of displacement is not unique, but so few writers have consciously attempted the process, and their works are so varied, that there are no unifying articles, no language for the critic with a day job to draw on. Some bright lad or lass (with the appropriate dignifying letters following their names) may read this and look for the method of displacement in H. P. Lovecraft, James Joyce, Robert Pinget, Gilbert Sorrentino, Flann O'Brien, R. A. Lafferty, Howard Waldrop, and R. A. Wilson. Now there's a book worth reading. The astute observer will note that all the names on the list are Irish, saving those which are not."

"Lafferty deliberately creates the mythic effect through a technique I call effective arcanum, and that rather than examining his work with the conventional tools of science fiction criticism, we need to examine his system — firstly for our pleasure, and secondly so that we may re-create it (because the sign of an authentic religo-magical system is the power of the followers to reproduce the results)."

"It's an American classic."

"R. A. Lafferty is unique, in the old, unspoiled sense of the word. A genius as wild and joyful, delightful and unpredictable as his comes along but once in a lifetime — this lifetime. Cherish him. If there were no Lafferty, we would lack the imagination to invent him."

"[R. A. Lafferty] has to be the maddest, the most colorful, the most unexpected writer alive."

"One of the things I loved about collaborating with Nick was that he was like R. A. Lafferty. Remember those old books for science fiction beginners, the ones that said “If you like Asimov, read Clement” or “If you like Sheckley, read Tenn”? And then you’d come to “If you like Lafferty, buy everything of his you can find before no one writes or thinks remotely like him.”"

"For, without cruelty, only a limited success is ever possible in opera."

"[In these stories, Lafferty mostly] seems to be writing about places that are not on the map but are real just the same. Lafferty was a traveler in his youth, and he may have glimpsed some of these places on the watery horizon; whether he was sober at the time is not the issue right now. … [Lafferty] has a reading knowledge of all the languages of the Latin, German, and Slavic families, as well as Gaelic and Greek. The army sent him to Morotai, New Guinea and the Philippines, and at one time he could speak pretty good Passar Malay and Tagalog. He turned to writing about six years ago, as a substitute for serious drinking. The tavernkeepers weep while we rejoice: Lafferty's stories are full of a warm, Bacchic glow, recollected in sobriety — euphoria, comradeship, nostalgia, and the ever-renewed belief that something wonderful may happen."

"It all goes back to Neil Gaiman. In the foreword to “Fragile Things,” he wrote that his short story “Sunbird” was his way of trying to write his own R.A. Lafferty story. So I found “Nine Hundred Grandmothers,” and it’s like nothing I’ve ever read before. It’s very blue-collar science fiction – all the familiar tropes of people going to outer space and to other planets. It’s hilarious, incredibly funny and at the same time it’s insanely dark. You get the feeling like it’s a guy just writing to amuse himself: “I don’t care if any of this makes sense, but I want to see weird stuff happen.” One of his stories starts off, “He began by breaking things that morning.” There’s a short story called “Ginny Wrapped in the Sun,” and it’s just about this little girl who’s super strong, running around, picking things up. You get such a sense of joy and boundless imagination in every sentence – even if the story doesn’t totally cohere, you feel like it’s about something. It’s so incredibly Tulsa. You get that feeling when you see a Flaming Lips show. It’s not like we’re dark and hurt and twisted. It’s like, "I’ve got blood on my face – come on, y’all, this is awesome.""

"And I love it as a reader. He Robert Aickman] will bring on atmosphere. He will construct these perfect, dark, doomed little stories, what he called "strange stories." I find the same with Lafferty. We were talking about Lafferty earlier as somebody who I'd love to read. I am hoping someone will do the complete short stories of R.A. Lafferty. What is interesting is that when you read the early Lafferty, the closer he comes to what one might consider a normal story, the less successful he is … And Lafferty is something played in an Irish bar on an instrument that you're not quite sure what it is and you're humming the tune but you don't remember the words as you walk out."

"R. A. Lafferty, who died at 87 on March 18, was undoubtedly the finest writer of whatever it was that he did that ever there was. He was a genius, an oddball, a madman. His stories… are without precedent..."

"Lafferty's first full-length work is an event. As with everything the man writes, the wind of imagination blows strongly, with the happy difference that in a novel he can reach full gale-force, Lafferty defies categorization; his work is unlike anyone else's. This is a great galloping madman of a novel, drenched in sound and color."

"One of the few writers who have made me laugh aloud."

"The history of the Choctaw Indians has been told before and is still being told, but it has never been told in the way Lafferty tells it … Hannali is a buffalo bull of a man who should become one of the enduring characters in the literature of the American Indian."

"Characters in Lafferty stories don't act or speak as normal folks do. Impossible things happen routinely. Indeed, the whole philosophical works are staged like a two-bit vaudeville act, with characters reminiscent of sideshow hucksters and midway card-sharps, promising marvelous prizes with one hand and taking your money with the other, leaving you wondering what the hell this thing is being put into your hands while you're being shuffled out the back door. But the prize here is the key to the kingdom, and the show is pretty funny. There is in fact no limit to Lafferty's humor — even the old banana-peel gag will be trotted out if it'll get a laugh."

"For me, reading Lafferty was like looking into Chapman’s Homer. He interested me in SF again, after I had outgrown my early love for Simak and Asimov and Heinlein. What a word slinger: what a richness of idea and image, in Irish-cadenced prose! Lafferty wrote the opposite of the post-Chekhovian modern short story. Show don’t tell? The pleasure is in the telling. Rhetoric, in the grand old manner, was at the center of his game. He could go from high-faluting to just plain faluting, and back again, all in a paragraph. Like Charles Mingus, another American original, Lafferty loved the sounds he made; never satisfied with mere profundity, he was pretty, too. He was our Mingus, I think, elevating us all. And his stories always had a humanist agenda, though I understand he was a political conservative. … I believe his day is yet to come; that like Melville, Lafferty will be "discovered," and his Okla Hannali will take its rightful place as one of the three or four truly great 20th century American novels."

"R .A. Lafferty has always been uniquely his own man, but in this book he surpasses himself. It is wild, subtle, demonic, angelic, hilarious, tragic, poetic, a thundering melodrama and a quest into the depths of the human spirit. You'll think about it for a long time and probably go back to it more than once."

"A crisis should have thunder in it. If Finnegan and Dotty had been able to generate a crisis with thunder and lightning, things might have been different. But what if the last anchor-cable parts when no one knows it, and the drift has already begun? This is the crisis come and gone."

"The perfect ghost story is the story of Possession," he said, "and that is hypnotism from beyond the grave. This is possible since hypnotism is by the will, and the will is immortal. A number of notable men have been possessed, and all of their lives seem to fit a pattern: the inconsequential early years, the hiatus when they stood where Faust stood, and the decision. And then the rise to power and influence and almost universal honor after they have made the deal. But it is not themselves, it is the devils within them that gain these things. They are the possessed men who do much of the running of the world, and theirs is the most frightening story that can be imagined. But those who watch the great men do not know that they are shells inhabited by ghosts."

"Brannagan had been to more places than Finnegan had, including the same places. He had not only skirted the d'Entre-Casteau Islands, he had walked all over them. He had not only sailed through China Straits, he had dived in them for old wrecks. He had not only climbed the Cloudy Mountains, but had panned gold in their streams and dips."

"When you can't depend on the Devil, who can you depend on?"

"Carr states that the characters of the Brunhilde are not true archetypes. Why, then they are false archetypes, and these also have their being. Kidd believes that X himself is in the process of becoming the Third Evil to fill the void left by the insufficiency of Papadiabolous and Seaworthy in the roles of devils. But Kidd is Joycean. To complicate matters, Lafferty swears that Finnegan is in no way Joycean, that he is nine hundred years earlier, out of the Yellow Book of Lecan (the Tain Bo Cuailinge), a character out of the Tain. This presupposes that Finnegan is identical with Fion McCool as well as with the more derivative Fingal, and also with Cu Chulainn. Well, Finnegan is capable of being all. To those interested in this line I recommend Thurneysen’s Die Irische Helden- und Konigsage."