Works
Lafferty's quirky prose drew from traditional storytelling, both Irish and Native American, and his shaggy characters and tall tales are unique in science fiction. Little of Lafferty's writing is considered typical of the genre. His stories are more tall tale than traditional science fiction and are deeply influenced by his Catholic beliefs; Fourth Mansions, for example, draws on The Interior Mansions of Teresa of Avila.
In any event, his writings, both topically and stylistically, are not easy to categorize. Plot is frequently secondary to anything else Lafferty does in his stories, which has caused him to have a loyal cult following, but has caused some readers to give up attempting to read his work.
Not all of Lafferty's work was science fiction or fantasy; his novel Okla Hannali, published by University of Oklahoma Press, tells the story of the Choctaw in Mississippi, and after the Trail of Tears, in Oklahoma, through an account of the larger-than-life character Hannali and his large family. This novel was thought of highly by the novelist Dee Brown, who published an influential book (Bury My Heart at Wounded Knee) in 1970 on the violent relationship between Native Americans and American expansionism.
Lafferty's work is represented by Virginia Kidd Literary Agency, which holds a cache of his still-unpublished manuscripts.
Read more about this topic: R. A. Lafferty
Famous quotes containing the word works:
“A creative writer must study carefully the works of his rivals, including the Almighty. He must possess the inborn capacity not only of recombining but of re-creating the given world. In order to do this adequately, avoiding duplication of labor, the artist should know the given world.”
—Vladimir Nabokov (1899–1977)
“The noble simplicity in the works of nature only too often originates in the noble shortsightedness of him who observes it.”
—G.C. (Georg Christoph)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)