[T]he image realized in pictorial form is not a garden-variety product but, on the contrary, the response to an intuitive vision whose invisible substance it seeks to realize and communicate in visible form. Far from contriving some idolatrous appearance or other, the true image attests to the fact that the visible scene or face it depicts has found the iconographer or artist. —Thomas Pfau, Incomprehensible Certainty: Metaphysics and Hermeneutics of the Image (2022) The mount

Lign in drerd un bakn baygl! There is already something like a Jewish monopoly in high finance. There is a growing tendency to Jewish monopoly over the stage for instance, the fruit trade in London, and to a great extent the tobacco trade. There is the same element of Jewish monopoly in the silver trade, and in the control of various other metals, notably lead, nickel, quicksilver. What is most disquieting of all, this tendency to monopoly is spreading like a disease. —Hilair

Comics and Lafferty make a fascinating story, given the place comics occupy in his work as both an influence on his techniques and a subject in their own right. Think of the Toonerville Trolley and its influence on “Interurban Queen,” Rocky McCrocky, the cartooning of Enniscorthy Sweeny, Dorg and cave art as cartooning, and so on. There is an alternate universe in which Lafferty’s stories get adapted during the second flourishing of horror anthology comics in the 1960s and ea