R. A. Lafferty Quotes

It's Down the Slippery Cellar Stairs (1995)

Oath by Captain Roadstrum not to tell how much fun Valhal is, written in blood from the roots of his torn-out tongue, Ch. 2
Space Chantey (1968)

Source: Space Chantey (1968), Ch. 6

Crewman Humphrey on Valhal, Ch. 2
Space Chantey (1968)

Roadstrum, not realizing he has become a small ape, in Ch. 6
Space Chantey (1968)

Source: Space Chantey (1968), Ch. 5, on Polyphemia
Context: Roadstrum had always believed that he had troubles enough of his own. He seldom borrowed trouble, and never on usurious terms. He knew that it was a solid thing that sheep do not gather in taverns and drink beer, not even potato beer; that they do not sing, not even badly; that they do not tell stories. But a stranger can easily make trouble for himself on a strange world by challenging local customs.
"But I am the greet Roadstrum," he said, suddenly and loudly. "I am a great one for winning justice for the lowly, and I do not scare easily. I threw the great Atlas at the wrestle, and who else can say as much? I suffer from the heroic sickness every third day about nightfall, and I am not sure whether this is the third day or not. I say you are men and not sheep. I say: Arise and be men indeed!"
"It has been tried before," said Roadstrum's friend, the sheep, "and it didn't work."
"You have tried a revolt, and it failed?"
"No, no, another man tried to incite us to revolt, and failed."

Source: Space Chantey (1968), Ch. 6
Context: The witch has been playing a semantic trick on us. We were already pretty salty animals when we came here! It is toy animals she has turned us into. We have been working against ourselves, trying to be men again, but to be her idea of men, since we live in her context. But she does not know real animals, or men. … Be you not toys any longer! Stir up the wild business in you. You have to be real animals before you can be men.

Source: Fourth Mansions (1969), Ch. 4
Context: "There was a later time when sincere men tried to build an organization as wide as the world to secure the peace of the world. It had been tried before and it had failed before. Perhaps if it failed this time it would not be tried again for a very long while. The idea of the thing was attacked by good and bad men, in good faith and bad. The final realization of it was so close that it could be touched with the fingertips. A gambler wouldn't have given odds on it either way. It teetered, and it almost seemed as though it would succeed. Then members of that group interfered."
"And it failed, O'Claire?"
"No. It succeeded, Foley, as in the other case. It succeeded in so twisted a fashion that the Devil himself was puzzled as to whether he had gained or lost ground by it. And he isn't easily puzzled."

Source: Archipelago (1979), Chapter Three, Pt. 5, A "ghost story" as narrated in its entirety by a character in the novel in a small ward gathering.
Context: "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."

Source: Space Chantey (1968), Ch. 5
Context: "Strangers may not lodge complaints till they have been in residence here for ninety days," the Cacique said, "and no stranger has ever remained with us that long."
"My complaint won't hold for ninety days. I accuse you people of eating men."

The Day After the World Ended, notes for a speech at DeepSouthCon'79, New Orleans (21 July 1979), later published in It's Down the Slippery Cellar Stairs (1995)
Context: Science Fiction has long been babbling about cosmic destructions and the ending of either physical or civilized worlds, but it has all been displaced babble. SF has been carrying on about near-future or far-future destructions and its mind-set will not allow it to realize that the destruction of our world has already happened in the quite recent past, that today is "The Day After The World Ended". … I am speaking literally about a real happening, the end of the world in which we lived till fairly recent years. The destruction or unstructuring of that world, which is still sometimes referred to as "Western Civilization" or "Modern Civilization", happened suddenly, some time in the half century between 1912 and 1962. That world, which was "The World" for a few centuries, is gone. Though it ended quite recently, the amnesia concerning its ending is general. Several historiographers have given the opinion that these amnesias are features common to all "ends of worlds". Nobody now remembers our late world very clearly, and nobody will ever remember it clearly in the natural order of things. It can't be recollected because recollection is one of the things it took with it when it went...

Aeaea, Ch. 6
Space Chantey (1968)
Context: Do you not know that the underground lands are shared by many worlds? It is all one underground, a vast place, and it is but a trick on which globe one will surface on coming out. This is the reason that the inside of every world is so much vaster than the outside. You are fooled by the shape of these little balls on which things live and crawl; you see the universe inside out; you see the orbs as containing and not contained. I will teach you to see it right if you please me.

The Day After the World Ended, notes for a speech at DeepSouthCon'79, New Orleans (21 July 1979), later published in It's Down the Slippery Cellar Stairs (1995)
Context: Science Fiction has long been babbling about cosmic destructions and the ending of either physical or civilized worlds, but it has all been displaced babble. SF has been carrying on about near-future or far-future destructions and its mind-set will not allow it to realize that the destruction of our world has already happened in the quite recent past, that today is "The Day After The World Ended". … I am speaking literally about a real happening, the end of the world in which we lived till fairly recent years. The destruction or unstructuring of that world, which is still sometimes referred to as "Western Civilization" or "Modern Civilization", happened suddenly, some time in the half century between 1912 and 1962. That world, which was "The World" for a few centuries, is gone. Though it ended quite recently, the amnesia concerning its ending is general. Several historiographers have given the opinion that these amnesias are features common to all "ends of worlds". Nobody now remembers our late world very clearly, and nobody will ever remember it clearly in the natural order of things. It can't be recollected because recollection is one of the things it took with it when it went...

Introduction to 'Junkyard Thoughts' in Isaac Asimov's Science Fiction Magazine (February 1986)
Context: Mr. Lafferty says, "I'm the fellow who, for more than a quarter century, has faithfully maintained the thesis that all writers should be funny-looking and all stories should be funny. Almost all of the evil in the world is brought about by handsome writers doing pompous pieces. But sometimes readers tell me that such a story of mine is not funny at all. 'Wait, wait,' I tell them. 'You're holding it upside-down. Now try it.' And sure enough it is funny if they get ahold of it right. This caution is especially applicable to the story 'Junkyard Thoughts.' Be sure you're not holding it upside-down or it will be merely bewildering."

Source: The Flame is Green (1971), Ch. 9 : Oh, The Steep Roofs of Paris
Context: We ourselves become the bridges out over the interval that is the world and time. It is a daring thing to fling ourselves out over that void that is black and scarlet below and green and gold above. A bridge does not abandon its first shore when it grows out in spans towards the further one.

The Day After the World Ended, notes for a speech at DeepSouthCon'79, New Orleans (21 July 1979), later published in It's Down the Slippery Cellar Stairs (1995)
Context: Science Fiction has long been babbling about cosmic destructions and the ending of either physical or civilized worlds, but it has all been displaced babble. SF has been carrying on about near-future or far-future destructions and its mind-set will not allow it to realize that the destruction of our world has already happened in the quite recent past, that today is "The Day After The World Ended". … I am speaking literally about a real happening, the end of the world in which we lived till fairly recent years. The destruction or unstructuring of that world, which is still sometimes referred to as "Western Civilization" or "Modern Civilization", happened suddenly, some time in the half century between 1912 and 1962. That world, which was "The World" for a few centuries, is gone. Though it ended quite recently, the amnesia concerning its ending is general. Several historiographers have given the opinion that these amnesias are features common to all "ends of worlds". Nobody now remembers our late world very clearly, and nobody will ever remember it clearly in the natural order of things. It can't be recollected because recollection is one of the things it took with it when it went...

Okla Hannali (1972)
Context: When very young, Hannali would sit on the black ground and chuckle till it was feared he would injure himself. Whatever came over him, prenatal witticism or ancestral joke, he seldom was able to hold his glee. In all his life he never learned to hold it in.

It's Down the Slippery Cellar Stairs (1995)

Source: Arrive at Easterwine (1971), Ch. 6
Context: Gaetan had always had a terrible finality about him. Was this his great sin — that he was already completed? I will intercede for him tonight in my own not entirely mechanical way. To be completed is to be finished in so many ways! May that twinkling man Gaetan be undone a little and saved.

Source: The Flame is Green (1971), Ch. 5 : Muerte De Boscaje
Context: Things are set up as contraries that are not even in the same category. Listen to me: the opposite of radical is superficial, the opposite of liberal is stingy; the opposite of conservative is destructive. Thus I will describe myself as a radical conservative liberal; but certain of the tainted red fish will swear that there can be no such fish as that. Beware of those who use words to mean their opposites. At the same time have pity on them, for usually this trick is their only stock in trade.

Captain Roadstrum, Ch. 2
Space Chantey (1968)
Context: There are skies we have not seen yet! There are whole realms still unvisited by us. We will not be penned in even a giant's pen. We fly!

Epigraph (of "Epiktistes")
Arrive at Easterwine (1971)
Context: Oh, come along, reader of the High Journal; if you do not love words, how will you love the communication? How will you forgive me my tropes, communicate the love?

Source: Space Chantey (1968), Ch. 8, Hondstarfer of Valhal, speaking of his work as a design engineer.
Context: "I'm doing pretty good. I'm a seminal genius, they say, and I have the most sophisticated tools ever devised to work with. And I do build some good things for them. I'm quite successful. I'll tell you something, though. In the daytime, with all those sophisticated tools, and particularly if someone's watching me, I just stall around. But at night — "
"Ah, at night! What do you do then, Hondstarfer?"
"Put away those damned sophisticated tools and get my stone hammers. That's when I build the good stuff. Don't give me away, though, Roadstrum.

Source: The Flame is Green (1971), Ch. 9 : Oh, The Steep Roofs of Paris
Context: Beware of those who manufacture final answers as they go along, of those who will catch you on their catch-phrases and let you perish in the traps. All the final answers were given in the beginning. They stand shining, above and beyond us, but they are always there to be seen. They may be too bright for us, they may be too clear for us. Well then, we must clarify our own eyes. Our task is to grow out until we reach them.

Source: Space Chantey (1968), Ch. 7
Context: "This is the Improbable Club," said the President-Emeritus in a heavy muffled voice, "and you things have made an improbable entry. Many unqualified persons have attempted to crash this Club, but you have done it literally. Whether you will be able to qualify for our high membership is another thing. It will not matter. We accept, for a brief moment at least, all who come here as members. We will quickly measure you one way or another. We have no living ex-members. Sit you down, all, and unwind your ears. Remember, each topper must be topped."

On death and the nightly resurrection of the slain on Valhal, Ch. 2
Space Chantey (1968)
Context: Death is for a long time. Those of shallow thought say that it is forever. There is, at least, a long night of it. There is the forgetfulness and the loss of identity. The spirit, even as the body, is unstrung and burst and scattered. One goes down to death, and it leaves a mark on one forever.

Roadstrum, in Ch. 8
Space Chantey (1968)
Context: I will be double-damned to a better Hell than Hellpepper Planet if I will have my ending here in peace! Peace be not the end of my epic! An epic is already failed if it have an ending. I don't care how it ended the first time — it will not end the same now!

The Day After the World Ended, notes for a speech at DeepSouthCon'79, New Orleans (21 July 1979), later published in It's Down the Slippery Cellar Stairs (1995)
Context: In its flexibility and in its wide-open opportunities, this is the total Utopia. Anything that you can conceive of, you can do in this non-world. Nothing can stop you except a total bankruptcy of creativity. The seedbed is waiting. All the circumstances stand ready. The fructifying minerals are literally jumping out of the ground. And nothing grows. And nothing grows. And nothing grows. Well, why doesn't it?

Atlas, on bearing the burden of maintaining the worlds, in Ch. 4
Space Chantey (1968)
Context: I tried to tell you, but words will not convey it. One has to be inside it to comprehend the magnitude. … It was the beginning. It's the only thing there is. But it was haphazard for so many aeons that it spooks me to think about it. There were always three or four maintaining it, but there was no one person strong enough to take it all over. "Somewhere there must be someone strong enough to take it all over," I said to myself in a direful moment, but the strongest person I could think of was myself. I've been doing it ever since. … By my attention I hold it all in being. Nothing exists unless it is perceived. If perception fails for a moment, then that thing fails forever. … I hate to be misjudged. They say that I bear it all on my shoulders, as though I were a stud or a balk. It's not on my great shoulders, it is amazing head on my great shoulders that maintains all.

Source: The Flame is Green (1971), Ch. 9 : Oh, The Steep Roofs of Paris
Context: Listen now to a series of sayings that always come hard to brave people. Our own great movement will grow with its own impetus wherever it is not blighted. We will break up persons of blight and centers of blight. But often, and this will be the hard part for all of you to understand, we will warn and advise before we kill. And quite often we will not kill at all. Try to understand this.

On confronting the Siren-Zo of Sireneca, in Ch. 4
Space Chantey (1968)
Context: "'Monday and Tuesday and Monday and Tuesday and Monday and Tuesday,' so the poor slaves had to sing in their labor for the puca. And finally a great savior broke the charm. 'And Wednesday too' he said, and then it was all over with."
"Roadstrum is the great savior who breaks the charm," Roadstrum announced. "I will set a Wednesday-term to the monster. But there are other elements in this…"

Source: The Flame is Green (1971), Ch. 5 : Muerte De Boscaje
Context: “The world is a garden,” the old man said. “It is a farm, a plantation, a sheep-ranch. In the garden are the cities also; they too are a great part of the planting. Believe me, all these plantations are sowed with good seed. But the Enemy from the Beginning also sows the red blight: these are the charlocks, the tares, called zizania in the Vulgate. Do not be fooled as to what it is and who sowed it. Do not be fooled in the factory or the arsenal, in the ship-yard or the shop; do not be fooled on the bleak farms or in the crowded city, in the club or in the workers’ hall or in the drawing room. The wrong thing that is sowed is the red weed, the red blight. And the Enemy has done this.
"Or let us say that we have a green thing growing forever. Everything that is done is done by it. And on it we also have the red parasite crunching forever: and everything that is undone is undone by that. The parasite will present itself as a modern thing. It will call itself the Great Change. Less often, and warily, it will call itself the Great Renewal. But it can never be another thing than the Red Failure returned. It is a disease, it is a scarlet fever, a typhoid, a diphtheria; it is the Africa disease, it is the red leprosy, it is the crab-cancer. It is the death of the individual and of the corporate soul. And incidentally, but very often, it is also the death of the individual and of the corporate body. We are asked to swear fealty to the parasite disease which the enemy sowed from the beginning. I will not do it, and I hope that you will not."

Source: Space Chantey (1968), Ch. 7
Context: Man-a-bleeding, but they broke out of that place! You say it can't be done, but they did it. Their expectations had been too high, and no second-rate Hell could hold them.
In a way it was their greatest feat. No one else had ever broken out of there before.

Comments on Roadstrum speaking to the pickled eye he carries in his pocket, in Ch. 8
Space Chantey (1968)
Context: The eye in his hand winked at him dourly. Eye was a tough old gump, not given to easy enthusiasms. Roadstrum put it back in his pocket and once more contemplated his good fortune.

On death and the nightly resurrection of the slain on Valhal, Ch. 2
Space Chantey (1968)
Context: Death is for a long time. Those of shallow thought say that it is forever. There is, at least, a long night of it. There is the forgetfulness and the loss of identity. The spirit, even as the body, is unstrung and burst and scattered. One goes down to death, and it leaves a mark on one forever.

On confronting the Siren-Zo of Sireneca, in Ch. 4
Space Chantey (1968)
Context: "'Monday and Tuesday and Monday and Tuesday and Monday and Tuesday,' so the poor slaves had to sing in their labor for the puca. And finally a great savior broke the charm. 'And Wednesday too' he said, and then it was all over with."
"Roadstrum is the great savior who breaks the charm," Roadstrum announced. "I will set a Wednesday-term to the monster. But there are other elements in this…"

Source: Space Chantey (1968), Ch. 6
Context: Something was working in Roadstrum's little ape head. When he had been a man he had always known when it was time for action; particularly he had always known the last moment when action was still possible. He knew now that that moment was come very near. … Then a blinding light burst upon Roadstrum, and he saw the truth of the situation. Many things Roadstrum was not, and it was sometimes wondered why he was the natural leader of all the men. He was their leader because he was a man on whom the blinding light sometimes descended.

Source: Space Chantey (1968), Ch. 1
Context: The war was finished. It had lasted ten equivalent years and taken ten million lives. Thus it was neither of long duration nor of serious attrition. It hadn't any great significance; it was not intended to have. It did not prove a point, since all points had long ago been proven. What it did, perhaps, was to emphasize an aspect, sharpen a concept, underline a trend.
On the whole it was a successful operation. Economically and ecologically it was of healthy effect, and who should grumble?
And after wars, men go home. No, no, men start for home. It's not the same.

The Day After the World Ended, notes for a speech at DeepSouthCon'79, New Orleans (21 July 1979), later published in It's Down the Slippery Cellar Stairs (1995)
Context: In its flexibility and in its wide-open opportunities, this is the total Utopia. Anything that you can conceive of, you can do in this non-world. Nothing can stop you except a total bankruptcy of creativity. The seedbed is waiting. All the circumstances stand ready. The fructifying minerals are literally jumping out of the ground. And nothing grows. And nothing grows. And nothing grows. Well, why doesn't it?

Atlas, on bearing the burden of maintaining the worlds, in Ch. 4
Space Chantey (1968)
Context: I tried to tell you, but words will not convey it. One has to be inside it to comprehend the magnitude. … It was the beginning. It's the only thing there is. But it was haphazard for so many aeons that it spooks me to think about it. There were always three or four maintaining it, but there was no one person strong enough to take it all over. "Somewhere there must be someone strong enough to take it all over," I said to myself in a direful moment, but the strongest person I could think of was myself. I've been doing it ever since. … By my attention I hold it all in being. Nothing exists unless it is perceived. If perception fails for a moment, then that thing fails forever. … I hate to be misjudged. They say that I bear it all on my shoulders, as though I were a stud or a balk. It's not on my great shoulders, it is amazing head on my great shoulders that maintains all.

Source: Space Chantey (1968), Ch. 6, on approaching the world of Aeaea
Context: "Here there are warlocks and mandragoras and witches," the navigation data log issued.
"When your machines start to go droll on you you're in trouble," Roadstrum growled. "I can get wise answers from my men. I don't need a machine for that."

Sign on the booth of "the big fellow" of Kentron-Kosmon, Atlas, in Ch. 3
Space Chantey (1968)
Context: I'm the guy who keeps it all going. If I weren't here, you wouldn't be here either. I know it all, I'm a smart-aleck. Loan-sharking and fencing. Any time I can't see you, you've had it.

Source: Space Chantey (1968), Ch. 5, on Polyphemia
Context: Roadstrum had always believed that he had troubles enough of his own. He seldom borrowed trouble, and never on usurious terms. He knew that it was a solid thing that sheep do not gather in taverns and drink beer, not even potato beer; that they do not sing, not even badly; that they do not tell stories. But a stranger can easily make trouble for himself on a strange world by challenging local customs.
"But I am the greet Roadstrum," he said, suddenly and loudly. "I am a great one for winning justice for the lowly, and I do not scare easily. I threw the great Atlas at the wrestle, and who else can say as much? I suffer from the heroic sickness every third day about nightfall, and I am not sure whether this is the third day or not. I say you are men and not sheep. I say: Arise and be men indeed!"
"It has been tried before," said Roadstrum's friend, the sheep, "and it didn't work."
"You have tried a revolt, and it failed?"
"No, no, another man tried to incite us to revolt, and failed."

Source: Space Chantey (1968), Ch. 1

Source: The Flame is Green (1971), Ch. 9 : Oh, The Steep Roofs of Paris
Context: Listen now to a series of sayings that always come hard to brave people. Our own great movement will grow with its own impetus wherever it is not blighted. We will break up persons of blight and centers of blight. But often, and this will be the hard part for all of you to understand, we will warn and advise before we kill. And quite often we will not kill at all. Try to understand this.

Judy's letter to the dispersed members of the Church of Omaha, in "And Walk Now Gently Through the Fire" (1972)
Context: To you who are scattered and broken, gather again and mend. Rebuild always, and again I say rebuild. Renew the face of the earth. It is a loved face, but now it is covered with the webs of tired spiders.

Space Chantey (1968)
Context: p>His soaring vaunt escaped the blooming ears of us,
He's gone, he's dead, he's dirt, he disappears from us! Be this the death of highest thrust of human all?
The flaming end of bright and shining crewmen all?Destroyed? His road is run? It's but a bend of it;
Make no mistake, this only seems</p

On Hellpepper Planet, Ch. 7
Space Chantey (1968)
Context: p>The place itself, and ne'er a good word spoke of it,
You shiver when you even make a joke of it.Though some go cocky, gaily in hand-basket there,
The most fare sadly in a clammy casket there…Undying pain and gaping loss, no doubt of it.
A wide way leading in and no way out of it! But none have told the blackest horror shrouded there —
Tall teeming terror‚ but it sure is crowded there.</p

Tiresias, Ch. 7
Space Chantey (1968)
Context: You show signs of levity, and that is the one thing not permitted here. This place is for serious persons only. If you are not serious now, by hell you'll get serious pretty quick!

Source: The Flame is Green (1971), Ch. 9 : Oh, The Steep Roofs of Paris
Context: The devils stroll the earth again and infect with the red sickness. They must, at all cost to themselves, destroy the growing tendrils before such can touch the other side. For, whenever one least growing creeper touches across the interval, that means the extinction of a devil. It is a thing to be tested. Notice it that whenever there is the special shrilling, when there is the wild flinging out of catchwords to catch you in, when there are the weird exceptions and inclusions, when there are specious arguments and the murderous defamations, when all the volubility of the voltairians and the cuteness of the queers has been assembled to confound you, then one green growth has almost reached across to the other side, one devil is in danger of extinction. Oh, they will defend against that!

Roadstrum, in Ch. 8
Space Chantey (1968)
Context: I will be double-damned to a better Hell than Hellpepper Planet if I will have my ending here in peace! Peace be not the end of my epic! An epic is already failed if it have an ending. I don't care how it ended the first time — it will not end the same now!

On "The Club" AKA the High Liar's Club, Ch. 7
Space Chantey (1968)

Source: Fourth Mansions (1969), Ch. 4
Context: "There was a later time when sincere men tried to build an organization as wide as the world to secure the peace of the world. It had been tried before and it had failed before. Perhaps if it failed this time it would not be tried again for a very long while. The idea of the thing was attacked by good and bad men, in good faith and bad. The final realization of it was so close that it could be touched with the fingertips. A gambler wouldn't have given odds on it either way. It teetered, and it almost seemed as though it would succeed. Then members of that group interfered."
"And it failed, O'Claire?"
"No. It succeeded, Foley, as in the other case. It succeeded in so twisted a fashion that the Devil himself was puzzled as to whether he had gained or lost ground by it. And he isn't easily puzzled."

Source: Space Chantey (1968), Ch. 4
Context: They were down on Kentron-Kosmon, an insignificant world. And yet, in the middle of Space-Port there (a cow pasture rather; it wasn't much of a spaceport) there was a nice plaque of electrum and on it was lettered: This is the Exact Center of the Universe.

Source: The Flame is Green (1971), Ch. 9 : Oh, The Steep Roofs of Paris
Context: In this growing there are no really new things or new situations. There are only things growing out right, or things growing out deformed or shriveled. There is nothing new about railways or foundries or lathes or steel furnaces. They also are green-growing things. There is nothing new about organizations of men or of money. All these growing things are good, if they grow towards the final answers that were given in the beginning.

As quoted in "My interview with R.A. Lafferty", by Tom Jackson, originally published in Lan's Lantern #39 (1991)
Context: I don't regard myself as a Surrealist in the sense of the "Surrealist Manifesto" published by Andre Breton in 1924. To me, that Manifesto is somewhat dated, being a recoil from World War I, and being too heavily Freudian. My own unconscious is more Jungian than Freudian. But if Breton hadn't staked claim to the name, I would probably call myself a Surrealist in the "Remembrance of Things Within" sense, but not in the "world of dream and fantasy joined to the everyday rational world, becoming 'an absolute reality, a surreality'." I suppose that I believe in another sort of a surreality or super-reality, but it would have to be on a wider basis than the encounters of myself and me. As often as not, it is the subconscious that supplies the rational element, and the exterior world that supplies the dream and fantasy feeling.

The Day After the World Ended, notes for a speech at DeepSouthCon'79, New Orleans (21 July 1979), later published in It's Down the Slippery Cellar Stairs (1995)
Context: Science Fiction has long been babbling about cosmic destructions and the ending of either physical or civilized worlds, but it has all been displaced babble. SF has been carrying on about near-future or far-future destructions and its mind-set will not allow it to realize that the destruction of our world has already happened in the quite recent past, that today is "The Day After The World Ended". … I am speaking literally about a real happening, the end of the world in which we lived till fairly recent years. The destruction or unstructuring of that world, which is still sometimes referred to as "Western Civilization" or "Modern Civilization", happened suddenly, some time in the half century between 1912 and 1962. That world, which was "The World" for a few centuries, is gone. Though it ended quite recently, the amnesia concerning its ending is general. Several historiographers have given the opinion that these amnesias are features common to all "ends of worlds". Nobody now remembers our late world very clearly, and nobody will ever remember it clearly in the natural order of things. It can't be recollected because recollection is one of the things it took with it when it went...

Source: Space Chantey (1968), Ch. 7
Context: "For one crime there is no asylum even in the Club," whispered Horace the Snake, who had sharp ears for whispering. "For all other crimes we give asylum, for the most heinous crime in the universe we give no asylum."
"What is the most heinous crime in the universe?" Roadstrum asked.
"Killing a songbird."

Captain Roadstrum to Bjorn, on planet Valhal, also known as Lamos, in Ch. 2
Space Chantey (1968)
Context: I do not understand your custom in this, but we do not intend to fight until all of us are dead. We desire very much that none of us be dead. And we will fight till all of you are dead only if it is absolutely necessary.

As quoted in "My interview with R.A. Lafferty", by Tom Jackson, originally published in Lan's Lantern #39 (1991)
Context: I don't regard myself as a Surrealist in the sense of the "Surrealist Manifesto" published by Andre Breton in 1924. To me, that Manifesto is somewhat dated, being a recoil from World War I, and being too heavily Freudian. My own unconscious is more Jungian than Freudian. But if Breton hadn't staked claim to the name, I would probably call myself a Surrealist in the "Remembrance of Things Within" sense, but not in the "world of dream and fantasy joined to the everyday rational world, becoming 'an absolute reality, a surreality'." I suppose that I believe in another sort of a surreality or super-reality, but it would have to be on a wider basis than the encounters of myself and me. As often as not, it is the subconscious that supplies the rational element, and the exterior world that supplies the dream and fantasy feeling.

Atlas, on bearing the burden of maintaining the worlds, in Ch. 4
Space Chantey (1968)
Context: I tried to tell you, but words will not convey it. One has to be inside it to comprehend the magnitude. … It was the beginning. It's the only thing there is. But it was haphazard for so many aeons that it spooks me to think about it. There were always three or four maintaining it, but there was no one person strong enough to take it all over. "Somewhere there must be someone strong enough to take it all over," I said to myself in a direful moment, but the strongest person I could think of was myself. I've been doing it ever since. … By my attention I hold it all in being. Nothing exists unless it is perceived. If perception fails for a moment, then that thing fails forever. … I hate to be misjudged. They say that I bear it all on my shoulders, as though I were a stud or a balk. It's not on my great shoulders, it is amazing head on my great shoulders that maintains all.

Interglossia
The Devil is Dead (1971)
Context: 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.

Source: The Flame is Green (1971), Ch. 9 : Oh, The Steep Roofs of Paris
Context: Beware of those who manufacture final answers as they go along, of those who will catch you on their catch-phrases and let you perish in the traps. All the final answers were given in the beginning. They stand shining, above and beyond us, but they are always there to be seen. They may be too bright for us, they may be too clear for us. Well then, we must clarify our own eyes. Our task is to grow out until we reach them.

Source: The Flame is Green (1971), Ch. 5 : Muerte De Boscaje
Context: Things are set up as contraries that are not even in the same category. Listen to me: the opposite of radical is superficial, the opposite of liberal is stingy; the opposite of conservative is destructive. Thus I will describe myself as a radical conservative liberal; but certain of the tainted red fish will swear that there can be no such fish as that. Beware of those who use words to mean their opposites. At the same time have pity on them, for usually this trick is their only stock in trade.

Tiresias, Ch. 7
Space Chantey (1968)

Aeaea, Ch. 6
Space Chantey (1968)
Context: I am the consummate scientist, Road-Storm. Science has suffered in having her name applied to mechanics, an ugly step-child of hers. Matter herself is a humiliation to the serious. We cannot make it vanish forever, but can make it seem to. For my purpose that is even better. All matter can be modified as long as it is kept subjective. Let us keep it so. … Those who fail to understand my science may call it magic or hypnotism or deception. But it is only my projection of total subjectivity.