"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 cohesion that bound the story together in a different way than plot mechanics. This method, which I can't detect in Zamyatin's works is the core of Lafferty's work. He has has invented the post-modern equivalent of the Homeric epithet."

“The shapes they take are both objective and subjective. One can shape them a little with one's own mind.”

“When we travel we find how greatly our boyhood dreams are outstripped by reality.”

“It isn't my profundity that makes me a mental marvel, it's the amazing detail of my perception. There's nobody else who can keep so many things on his mind at once.”

“'We are strangers, lost and bemused," Roadstrum said to the lady. "We have landed here by accident. We are looking for a lady who was singing, the lady who is identical with the planet and who sang the planet into being.”

“I've had enough of this place where they stuff you full of bull and then hunt you down and kill you every day.”

“And I love it as a reader. He 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.”