An annotated guide to criticism, reviews, and Russian editions
Sources checked through 16 September 2026. The guide records the material located and examined; inaccessible pages and unindexed print writing leave gaps.
The earliest Russian translation located for this guide appeared in a children’s science magazine. In 1965, Yunyi tekhnik printed “Seven-Day Terror” as “7 страшных дней,” translated by I. Bernstein. The story soon appeared again in Selskaya molodezh, and in 1987 it became the puppet film Ischezatel. That early life in magazines and animation forms one part of a reception that later reached private translations, theological criticism, and arguments about the future. Early Russian publication records; The film.
The early selections left an impression that some later readers wanted to correct. In a 2012 FantLab discussion, ameshavkin argues that the familiar anthology pieces had made Lafferty seem a genial humorist. Other contributors insist that the novels are quite different. Their own reviews often divide over this difference: some admire the density of thought and invention; others find the longer books disjointed or exhausting. The FantLab discussion.
“Slow Tuesday Night” acquired a particular Russian afterlife. Sergei Pereslegin uses its accelerated society to think about administration, technology, and space travel. A report from one of his workshops describes participants trying to live several lives in a night. Elsewhere, readers compare the story with Vernor Vinge and argue about whether its people have become freer or merely more frantic. Pereslegin’s “Быстрый мир”; The workshop; Lafferty and Vinge.
Azbuka’s 2021 collection, Дни, полные любви и смерти. Лучшее, brought another round of reviews. Professional critics welcomed it; reader responses range from delight to impatience with the introductions and the author’s manner. Behind that commercial edition lies a substantial history of fan translations and small editions. The dates printed in those books do not always match the dates when they actually appeared. The Azbuka edition; Elena Shchetinina’s review; Russian bibliography.
This guide covers Russian-language writing wherever it was published. It is arranged by subject, then by the work discussed and date. Russian essays, translated interviews, reader reviews, publisher notices, and catalogue records are identified separately. Mirrors, brief references, and unavailable pages remain linked. The concordance connects attested Russian titles with their English originals.
Essays, profiles, and interviews
Profiles and essays are ordered by publication date, where known. Translated interviews and criticism follow their recorded Russian publication dates; original dates appear alongside them.
Sergei Pereslegin and Nikolai Yutanov · 9 April 2000
Pereslegin and Yutanov distinguish fiction that projects present anxieties into the future from fiction that imagines problems not yet encountered. They place Lafferty beside Lem, the Strugatskys, and Asimov among the few writers capable of the latter. Such apparently strange inventions, they argue, can alter how people think and eventually suggest new technologies. The Lafferty reference is brief within a much larger argument about the failures of futurology.
Сергей Бережной (Sergei Berezhnoy) · 2002; exact date not displayed
Berezhnoy’s obituary presents Lafferty as a master of the short story whose limited translation into Russian did not diminish his standing. It outlines his employment, military service, late literary debut, principal awards and retirement after illness. A final list names several stories already available in Russian, including “Seven-Day Terror,” “All Pieces of a River Shore” and “Slow Tuesday Night.”
Gakov presents Lafferty as an experimental writer whose absurd comedy conceals moral and religious arguments. His account moves from the apparent simplicity of the stories to the Catholic concerns of Past Master, Fourth Mansions, Aurelia, and Annals of Klepsis. He compares the fiction with Latin American magical realism and argues that its secondary meanings are particularly vulnerable in translation. This substantial Russian essay also incorporates appreciations by English-language critics.
Tom Jackson and R. A. Lafferty; Russian translation by Sergei Gontarev · 1991 original; Russian translation catalogued 2006; online file undated
In this translated interview, Lafferty identifies favourite and neglected works, explains the theological sources of Aurelia and Fourth Mansions, and discusses Terry Carr’s editorial advice. His comments on the reception of “Eurema’s Dam” distinguish the prizewinning story from work he valued more highly. Gontarev’s notes identify Russian title variants, explain an altered story ending, and preserve English titles where Russian versions were unavailable.
Darrell Schweitzer and R. A. Lafferty; Russian translation by Vladislav Zarya · Interview conducted 1982; original published 1983; Russian translation catalogued 2007
Schweitzer’s interview gives Russian readers Lafferty’s account of oral storytelling, religious conviction, myth, and the practical work of writing. Lafferty describes autobiographical elements in Archipelago, the overlapping chronology of his related novels, and his preference for unresolved endings. He also explains how interrupted drafts become finished stories. The introductory interpretation of his Catholic outlook belongs to Schweitzer, while the answers preserve Lafferty’s own sometimes provocative judgments.
Sergei Pereslegin; reposted by dm_kalashnikov · Essay undated; reposted 25 June 2009
In an essay about poverty, Pereslegin uses “Slow Tuesday Night” to imagine a society whose economic positions change too rapidly for poverty or wealth to become lasting identities. This appears as an alternative to reducing inequality by lowering everyone’s standard of living. The LiveJournal entry republishes his essay alongside one by Sergei Kara-Murza. Its Lafferty passage belongs to Pereslegin’s social argument, rather than the blogger’s introduction.
muravied; ameshavkin; Babai; С. Соболев; Александр Кенсин; others · 30 March 2012 to 14 August 2019
A three-page discussion centres on the reputation created by selective translation. ameshavkin challenges the image of Lafferty as a kindly humorist; Babai stresses the difficulty of the novels. Sobolev describes small-edition publishing and disputes Kensin’s account of an abandoned commercial edition. Later posts welcome Azbuka’s announcement. The participants disagree about both Lafferty’s work and the decisions behind its Russian publication.
Michael Swanwick; Russian translation by Niyaz Abdullin · 1992 original; Russian print publication catalogued 2018; online file undated
Swanwick’s introduction considers the gap between Lafferty’s originality and his commercial prospects. He questions the comforting assumption that eventual recognition must follow neglect, using the story of a Philadelphia street figure to expose wishful thinking. His practical hope is that small publishers will continue to preserve Lafferty’s work.
Neil Gaiman; Russian translation by Maria Alexandrovna Litvinova · 2019 original and first catalogued Russian printing; revised Russian publication in 2021; online file undated
Gaiman recalls discovering Lafferty as a child, finding his books in a Sussex library, and receiving encouragement after sending him an early story. His examples explain the attraction of the narrative voice, wordplay, and improbable events more directly than conventional genre labels do. This is an English appreciation translated into Russian. The fan PDF and the later Azbuka printing use different Russian headings and some different story titles.
Владимир Шалларь (Vladimir Shallar) · 16 September 2022
Shallar includes Lafferty in a reading list about religion in science fiction, alongside Miller, Russell, Card, Simak, Wolfe, Bradbury and Dick. His short entry compares Lafferty's imaginative oddity and humor with Chesterton's and finds a similarly luminous Christian outlook. He distinguishes stories explicitly about Christianity from stories written by a Christian whose faith informs his imagination.
This Russian essay traces recurring places and characters across stories that readers might otherwise treat as isolated inventions. The writer links Tulsa, Wreckville, the Institute of Impure Science, Austro and the Willoughby family, while cautioning that rigid classification matters more to collectors than to ordinary readers. The essay also explains the choice of “Неточных” rather than “Нечистых” for the institute’s name, because the latter suggests sinister supernatural associations in Russian.
The Orthodox media library introduces Lafferty as a writer whose narrative and stylistic experiments resist familiar genre categories. Its brief Russian appreciation emphasizes Catholic belief and compares him with Chesterton, while distinguishing fiction from overt preaching. It then quotes a translated Gaiman obituary at length, combining the site’s religious interpretation with Gaiman’s praise.
Reviews are grouped by novel, alphabetically by English title, and ordered by date within each group. Some contributors read the originals; others discuss Russian translations.
k2007 describes the novel as an artificial intelligence’s stream of consciousness and finds both its inventors and their creation strange. The reviewer allows that he may have failed to understand it, while calling the text excessive even by Lafferty’s standards. The catalogue identifies N. Abdullin as the Russian translator.
R. A. Lafferty; Russian translator not credited in this standalone file · Original novel 1971; Russian online file undated
Lafferty’s own prefatory text offers a deliberately unstable guide to The Devil Is Dead. It asks readers to treat characters, deaths, voyages and archetypes as pieces they must assemble, while suggesting that people inhabit archetypes rather than merely imagine them. It offers instructions for reading without promising a single settled interpretation.
Frantischek places Lafferty beside Cabell and Chesterton, arguing that his eccentricity begins with ideas rather than decorative imagery. The review praises the novel’s density and describes late Lafferty as obscure, deeply uncommercial, and adjacent to the New Wave without belonging to it. The reviewer also speculates about unsold editions and neglect by publishers.
alex1970; vam-1970; tkatchev · 6 November 2010 to 19 August 2018
alex1970 finds the novel less compelling than the stories, describing abrupt rhythms, shuffled fragments and Catholic symbolism against the psychedelic atmosphere of its period. vam-1970 values its treatment of hidden rulers and the way power absorbs resistance, despite clipped prose. tkatchev compares the novel with Lazarchuk and Uspensky’s Look into the Eyes of Monsters, judging Lafferty more successful.
k2007; ihtiosyncrasie; vam-1970 · 6 February 2018 to 28 May 2022
The three reviews emphasize moral and philosophical difficulty. k2007 reads Thomas More’s repeated fate as a sad argument that material security cannot replace a fully lived life. ihtiosyncrasie sees a morality play about destiny and resisting the devil, while criticizing repetitive dialogue and thin characterization. vam-1970 struggles with the absurdist manner but values the account of civilizations rising and falling.
bambr1960; romanpetr; k2007 · 12 January 2014 to 1 April 2015
bambr1960 describes a loose chain of stories mixing science fiction, horror, religion and invented history, with plot given little priority. romanpetr is more enthusiastic, praising the translation’s readability and suggesting that the murderous alien children embody a conflict between generations. k2007 compares the family with Kuttner’s Hogbens, then stresses their vulnerability and the book’s darker tone.
Two readers respond to Lafferty’s spacefaring version of the Odyssey with different degrees of enthusiasm. romanpetr values its lively, extravagant adventures, observes that individual chapters could stand as stories, and finds the humour compensates for initial stylistic difficulty. k2007 calls it an amusing but mad account of space veterans repeating Odysseus’s adventures. Both recognize the Homeric framework, but romanpetr recommends the novel more warmly.
Stories and collections
The Best of R. A. Lafferty comes first, followed by Nine Hundred Grandmothers and its title story. Other stories follow in alphabetical order. Annotations of reader discussions report the range of views in the passages examined; a page with many reviews may contain further responses.
zhora.genin; Александр Крупко; Игорь Литвинтцев · 8 May 2021 to 19 December 2021
Zhora.genin praises the collection's verbal and intellectual play, while warning that its humour can bewilder, and thanks the publisher for taking a risk. Alexander Krupko offers a short recommendation to readers tolerant of strange stories. Igor Litvintsev expresses anticipation prompted by famous writers' endorsements rather than reporting a completed reading. Together the comments show how the Russian edition was received and how strongly its promotional framing shaped expectations.
Shchetinina praises the collection's combination of stories and introductions by fellow writers, while warning that their enthusiasm may raise impossible expectations. She locates affinities with Twain, Ellison and Bradbury, then examines Lafferty's shifts from absurdity to grief and philosophical inquiry. Her review values his treatment of death, evolution and mythology, although she finds some premises familiar and his humor unusually demanding.
majj-s; serjantlech; if_you_feel; MMishaM · 16 October 2021 to 13 July 2026
The collection attracts sharply different responses. Majj-s traces a meeting of Irish and Indigenous American traditions, comparing Lafferty with Flann O’Brien and Sherman Alexie. Serjantlech enjoys the extravagant inventions and distinguished contributors. If_you_feel praises the compressed worldbuilding while admitting that passages require rereading. MMishaM gives the collection one star, finding its famous admirers’ introductions more moving than the stories and treating the unanswered questions in “Nine Hundred Grandmothers” as an empty promise.
Василий Владимирский (Vasily Vladimirsky), contributor to a collective feature · 1 December 2021
Vladimirsky recommends the Russian collection in Prochtenie’s book fair shopping list. He compares Lafferty with Rabelais, Swift, Amos Tutuola and Borges, while insisting that none of these comparisons quite fits. He links Lafferty’s limited commercial success to his singular mixture of parable, grotesque, absurdity and science fiction, and welcomes the collection’s introductions by writers who felt his influence.
Nevsky's annual survey names the Russian Lafferty collection the year's most long-awaited book and lists it among contenders for best collection and book of the year. He argues that readers should judge its apparently familiar ideas and stylistic tricks in their historical setting. He compares its spirit with Gaiman and Miéville and welcomes the chance to encounter an important American writer more fully.
Vladimirsky contrasts Lafferty’s unruly imagination with Alastair Reynolds’s rationally constructed future history. He describes a mixture of absurdity, grotesque comedy, farce, and black humor, then follows the recurring failure of attempts to understand alien cultures or improve history. Yet his emphasis falls on the characters’ refusal to surrender. “Eurema’s Dam” suggests an autobiographical parallel, while “Slow Tuesday Night” exemplifies an energy that leaves little room for self-pity.
Having read approximately half the Russian collection before giving it away as a present, the blogger finds the stories pleasant and inventive but less impressive than their promotional framing suggests. She warns that the individual introductions disclose plots and quotations in advance. She also wonders whether translation has obscured the promised semantic and stylistic play, carefully presenting this as uncertainty rather than a demonstrated fault in the Russian text.
archivsf; fail of reality; kavarkad; Newa; majj-s; others · 15 September 2008 to 10 May 2025
Readers divide sharply over whether the unanswered question is a strength or an evasion. majj-s sees a fable about generations and the limits of perspective; archivsf finds comedy in the young visitor’s assumptions. fail of reality reads a darker prospect of colonial exploitation alongside the wonder. kavarkad and Newa instead find an empty mystery or banal parable. Earlier enthusiastic responses value the humour even when the conclusion resists explanation.
Avva describes a first encounter with Nine Hundred Grandmothers in English, emphasizing its affinity with tall tales and its repeated collapse of apparently stable realities. The review singles out “Snuffles” for disrupting the reader’s expectations as well as the characters’ world. It recommends three stories as an introduction, while acknowledging several weaker pieces and advising readers to follow individual collections rather than an indiscriminate collected edition.
k2007 gives the collection a favourable but measured seven out of ten. The short response values its variety of subjects and degrees of strangeness: some stories are strongly surreal, while others succeed through simplicity. This is a judgment on the 1970 collection as a whole; it neither ranks individual contents nor reviews the title story separately.
narutoskee; ultraViolett · 9 May 2020; 10 February 2023
Narutoskee finds the story unusual but resents its withheld answer, comparing the experience with receiving an empty sweet wrapper. Having also consulted the English, the reviewer doubts that translation alone explains the disappointment and reads the nested ancestors as a figure for inherited DNA. UltraViolett reaches the opposite verdict: the story rewards rereading, and its unexpected ending is precisely what makes it funny.
Паттон Освальт (Patton Oswalt); posted by Кот-император · 11 July 2021
This Russian translation of Oswalt’s introduction accompanies the complete story in Mir fantastiki. Oswalt reads Ceran Swicegood’s search for ultimate knowledge as a destructive form of intellectual vanity, more dangerous than his companions’ ordinary material appetites. He stresses that the same story remains very funny. The page also identifies the Russian story text as an edited translation by D. Voznyakevich.
servago; romanpetr · 16 September 2013 to 20 April 2014
Servago celebrates the full play of Lafferty's imagination, following subterranean machines and humans into a scientific gathering that becomes a lively convention. Romanpetr likewise finds the Hollow Earth dispute entertaining and instructive. Both emphasize the confrontation between conventional scientific certainty and inconvenient testimony, with comic spectacle surrounding a serious question about whether committed skeptics can be persuaded by experience.
osipdark; vam-1970; god54; borisbolgarsky · 2 June 2016 to 31 August 2026
Responding directly to vam-1970’s complaint that the premise cannot justify so much prose, osipdark proposes that Lafferty creates a magical science fiction, or poetry of ideas. The essay invokes Eco’s discussion of Joyce and argues that everyday detail makes contact with the nonhuman and unimaginable more powerful. god54 likewise praises its strange artistic object. A later collector, borisbolgarsky, values the atmosphere of collecting itself.
UltraViolett recognises suggestiveness and an unusual premise as characteristic strengths of Lafferty, but finds that they do not suffice here. The reviewer cannot make sense of the story and feels that its ending lacks the force needed to justify the uncertainty. The response distinguishes productive mystery from the impression that an author has simply left a story unfinished.
God54 praises the story’s originality, compelling narration, and capacity to provoke thought, while withholding plot details to preserve discovery. The central reservation concerns the ending: the decisive action seems insufficiently supported by what precedes it. The resulting seven-point assessment is favorable but clearly distinguishes admiration for the conception and prose from dissatisfaction with its final turn.
Romanpetr recommends the story to readers receptive to humor, myth, and psychedelic turns, while suggesting that younger readers may need greater familiarity with Indigenous American mythology. The review places its ageless, transforming boy within the Institute for Impure Science sequence. Its chief attraction is the surprising folkloric vision gradually disclosed by the scientists’ investigation.
osipdark; fail of reality · 7 June 2025; 22 April 2026
osipdark reads the scientists’ encounter as an attack on dogmatic faith in progress and the assumption that modern humanity must surpass its predecessors. The essay relates the story to other Lafferty works through recurring places and beings. fail of reality offers a more personal appreciation of the river, silence, and imagined renewal, admitting a resemblance to the scientist who cannot recognize what he seeks. Both admire the story but approach its mystery differently.
osipdark links this story with “Boomer Flats” through pride. In one, a scientist refuses knowledge that unsettles human superiority; in the other, a beneficiary of apparently endless money refuses to admit that his bargain has defeated him. The reviewer argues that a common moral structure joins Lafferty’s varied inventions and portrays the protagonist as a reversed Saint Francis.
osipdark distinguishes this alternate world, where humans have not mastered fire, from the familiar rewriting of political events. Comparisons with Lem, Harrison, and Egan frame its alteration of a basic technological premise. The review follows the conflict between rational discovery and inherited custom, then stresses the violence and sacrifice accompanying progress. It preserves the story’s ambiguity instead of reducing its catastrophic ending to a simple rejection or celebration of knowledge.
Romanpetr enjoys the Institute's experiment in telepathy faster than light, particularly the absurd reasoning that makes its dangerous results seem persuasive. The reviewer also welcomes the presence of Russian-speaking characters in American science fiction. Although calling the story simple, the review praises the opening joke about successful experiments whose conditions cannot sensibly be repeated and the ingenuity of the argument.
romanpetr likens the confrontation with seven artificial brains to a small theatrical production. The review emphasizes the machines’ contempt for humanity and the danger of underestimating an apparently weaker opponent. It finds practical value in the old tale of the genie in a bottle, while enjoying Lafferty’s jokes about technical progress and the improbable origins of Swiss manufacturing excellence.
romanpetr praises the story as a sustained mystification and compares its manner with Quentin Tarantino’s. The review follows two tavern visitors listening to three competing accounts of a mysterious dish, each potentially true. It particularly enjoys the accumulation of ominous possibilities and the way apparent culinary curiosity becomes fear while the listeners wait for the explanation.
servago; Тиань · 25 September 2013 to 13 April 2016
Servago reads the story as an ironic account of love, enriched by scientific, historical and biblical digressions. Тиань gives Veronica the greater tragic weight: Clem survives through adaptability and self-interest, while his wife struggles to change circumstances and herself. The latter review connects the division of personalities with the Trinity and interprets the ending through acceptance, courage and practical wisdom.
vam-1970 regrets that the Camiroi sequence contains only two stories. The review admires their account of an alien society, concentrating on schooling and government, and takes their humour as a pointed criticism of human arrangements. For this reader, the satire does more than expose faults: it suggests how intelligent beings might organize their common life.
Vam-1970’s brief cycle review praises the two stories about children with extraordinary powers but regrets that the sequence is so short. The reviewer suspects Lafferty intended a larger undertaking than the surviving pair delivers. A score of nine indicates strong approval despite that dissatisfaction with its extent; the notice makes no detailed comparison between the individual stories.
fail of reality; archivsf; MrBambook · 5 June 2023 to 26 June 2025
fail of reality cannot find a satisfying account of the story even with its introduction, but acknowledges that something may have escaped the reading. archivsf similarly relies on the introductory explanation yet enjoys the tangled verbal pattern. MrBambook reviews the entire Russian selection here, arguing that Lafferty is dated, monotonous and inferior to Gaiman in his handling of fantastic elements.
fail of reality admires the atmosphere but finds the ideas diffuse and less moving than those of “Ride a Tin Can.” The reviewer distrusts the need for an explanatory afterword and reads the repetitions through unrequited love and Indigenous myth. A substantial objection concerns the story’s assertions about Chinese writing and the origins of literacy.
romanpetr follows a journalist’s inquiry into disobedient machinery and finds the discoveries increasingly ominous for humanity. The reviewer particularly notices the machines’ cruel humour, which turns human investigation into a dangerous undertaking. The effective ending suggests Sheckley and an unidentified Gordon Dickson story, while the comparatively gentle narrative manner makes this an inviting introduction to Lafferty in the reader’s judgment.
fail of reality finds the story a fitting conclusion to the collection precisely because its beauty survives incomplete understanding. The review notices biblical allusions, pagan fertility rites, violence and festivity, then tries several incompatible interpretations of the contrast between its two kinds of days. The reader asks for a Christian interpretation and values the experience of rereading without settling on an explanation.
K2007 regards the collection as characteristically Laffertian, praising its mixture of grotesque invention, surrealism, and unstable relations between seriousness and irony. The brief notice particularly values the cumulative effect of a collection: a varied, exuberantly irrational assembly of ideas and plots. Its favorable seven-point rating accompanies this concise description of the author’s recurring strengths.
romanpetr enjoys the story as a brief satirical entertainment about overcoming worldwide hunger. The review follows the connection between a cartoonist’s imaginary edible creature and the appearance of such an animal when hope has collapsed. Its appeal lies in the absurd solution, achieved almost by thought alone, and in the brisk, cheerful manner that the reader compares with vaudeville.
Gynny recognizes a horror variation on Zhuangzi’s butterfly dream, replacing pleasurable uncertainty with suffering and madness. The reviewer anticipates the terrible ending but continues to hope for another outcome. god54 concentrates on the difficulty of distinguishing waking life from dreams when dream sensations are more vivid, finding the compressed treatment thought-provoking despite a degree of excessive abstraction.
Servago praises an original treatment of Earth's history and humanity's future. What begins as a pollution story becomes a surreal philosophical parable filled with Old Testament references. The review stresses the conflict between near-immortality in a dark, abundant world and the desire for a shorter life with sunlight, colour and wind, reading the new paradise as a deeply ambivalent achievement.
osipdark reads the story as an homage to Poe’s “The Murders in the Rue Morgue”, using Borges’s account of detective fiction to frame the comparison. The essay follows the conflict between rational inquiry and supposed occult explanations, including suspicion directed at ethnic minorities. It argues that the eventual explanation exposes human stupidity and adolescent ritual rather than supernatural evil.
Gynny finds the children more convincing than those in Seven-Day Terror, especially their secret society, hiding places, and literal interpretation of instructions. The reviewer nevertheless considers the crime an overextended anecdote with dark humour. vam-1970 takes the opposite view of the construction, admiring the explanation of the crime more than the children’s fantastic abilities.
Firedark reports listening without interruption and admires the absence of an oppressive atmosphere despite the opening murder. The review follows the children's clues beyond the apparently successful police investigation, stressing how much adults overlook. Its central judgment is that the murderer can deceive experienced investigators but cannot compete with the children's observations, a lesson the reviewer extends to everyday assumptions about childhood.
fail of reality; god54; kavarkad; vam-1970; majj-s; slavserg · 2 June 2016 to 31 May 2025
fail of reality reads the supposed fool as a genius whose designation exposes society’s unreliable judgments of intelligence. god54 and vam-1970 also stress the outsider’s inventive power, while kavarkad finds the conception primitive. A distinct translation dispute appears in slavserg’s response: the reviewer prefers Paperina’s earlier version and questions the new commission. The page thus combines interpretation of the story with a concrete objection to the recent collection’s editorial choices.
After mixed encounters with two other stories, narutoskee finds this the strongest of the three. The reviewer interprets Albert through questions of genius, social normality and the Russian fool of folktales, while identifying personally with his sense of inadequacy. The review argues that the apparently unsuccessful outsider can sustain an entire society, praises the translation's relative clarity and remains somewhat dissatisfied with the ending.
romanpetr; servago · 16 September 2013 to 19 April 2014
Romanpetr finds the murder mystery readable but simplistic, suggesting its brevity prevents the weaknesses from becoming intolerable. Servago considers the structure dull and argues that the crucial biblical clue is difficult for Russian readers, especially without knowledge of English Bible traditions. Both notice the humorous characterization, but neither thinks conventional detection displays Lafferty’s strongest imaginative qualities.
осеньхарасё; vam-1970; Babai · 14 January 2011 to 30 December 2024
Responses divide over the story’s hunting violence. Осеньхарасё finds the protagonist’s apparent compulsion to kill disturbing, despite reading with interest. Vam-1970 praises a tense adventure and an unusual civilization. Babai emphasizes the dry style, extravagant worldbuilding, and investigation of both a death and a social catastrophe, welcoming its departure from familiar fantasy conventions.
fail of reality reads the story through unequal lifespans and missed intimacy, drawing comparisons with Bradbury and Tolkien. The reviewer finds it deeply sad and connects its temporal separation with friendships across generations. Yet the inability of the human and mountain spirit to accept a limited period of happiness together seems excessively pessimistic.
God54 initially finds the premise and opening compelling, but loses interest as the story becomes increasingly phantasmagoric. Questions about mutation, competing lines of human development and surviving remnants of earlier humanity seem to proliferate without resolution. The reviewer feels enticed and then abandoned by the lack of an answer, giving the story six out of ten.
K2007 describes this collection as an especially clear example of Lafferty’s distinctive manner: a succession of strange stories whose appeal resists familiar genre labels. The reviewer favors the catalogue’s psychedelic classification over science fiction, fantasy, or mysticism. Despite a restrained score of six, the notice acknowledges a persistent attraction that encourages reading the next story.
Babai; muravied; A.Ch; god54; vam-1970 · 9 May 2011 to 13 May 2018
Muravied celebrates the absurd overcrowding and comic dialogue, reporting laughter while reading in public. Vam-1970 treats the same premise as a warning about unchecked population growth. A.Ch emphasizes patience, tolerance and the value of human closeness, while god54 finds renewed appreciation for solitude. Babai places the story beside “Seven-Day Terror” and “The Transcendent Tigers” as a characteristic Lafferty comic tale.
amak2508; vam-1970; god54; sanchezzzz · 10 September 2008 to 1 June 2024
Readers generally admire the annihilator’s comic possibilities and disastrous consequences. Sanchezzzz praises both the humor and Nudelman’s translation, comparing Lafferty favorably with Sheckley. Vam-1970 reads a warning about programming and unforeseen effects. Amak2508 appreciates the invention and final surprise but finds the opening prolonged and the narrator’s awkward voice too reminiscent of Kuttner’s Hogbens.
vam-1970; god54; muravied · 11 May 2012 to 18 May 2018
These reviews expose a sharp split over Lafferty’s escalating absurdity. Vam-1970 calls the story self-indulgent nonsense, while god54 objects to confusion over identities, violence, and the children. Muravied instead celebrates the brawl between three versions of Homer as an exceptionally funny scene, describing the story’s bizarre violence as an effective antidote to a bad mood.
majj-s; qkd; god54; amak2508; sanchezzzz; others · 10 September 2008 to 28 March 2025
Readers commonly praise the discovery of wonders in an apparently ordinary place. qkd stresses unnoticed everyday marvels; god54 welcomes the warmth and thinks explanation would spoil it. majj-s connects the immense world hidden in a small space with differences between generations’ technical abilities. amak2508 admires the execution but finds the strangers’ involvement in commerce insufficiently motivated.
Romanpetr admires the story’s bold engagement with theological questions through cheerful narration and bitter irony. The review follows a wealthy transport entrepreneur’s attempt to understand how God became God and whether he could do likewise. It emphasizes the sustained philosophical problem and the protagonist’s determined amateur expertise, finding Lafferty’s speculative answers amusing rather than dismissing their seriousness.
majj-s; technocrator; kavarkad; vam-1970; others · 25 April 2012 to 3 February 2025
The railway alternative prompts both affection and resistance. majj-s contrasts the shared life of trains with the isolating individualism of cars; technocrator calls the story an economic and social alternative history with a partly ironic pastoral appeal. vam-1970 welcomes its cleaner, less dangerous world. kavarkad finds the rural ideal foolish. These readings reveal how Lafferty’s transport fantasy becomes a debate about community, modern convenience, and the credibility of utopia.
romanpetr finds philosophical force in a largely realistic story interrupted by mystical possibilities. The review presents Salt as a persuasive religious fraud whose associates help stage another supposed miracle after an earlier failure. It interprets the ensuing reversal as a warning against invoking God for personal profit and praises the story’s disturbing emotional effect.
fail of reality; lammik; Babai; Lilian; majj-s; others · 10 May 2011 to 4 August 2026
Readers dispute both the story’s literary interest and its treatment of Romani identity. lammik welcomes its kindness and unexpected subject within Dangerous Visions; Lilian finds an amusing but slight anecdote. fail of reality dislikes the thin drama yet develops an argument against scapegoating and for sympathy with displaced people. Babai objects to the romanticization and untranslated vocabulary.
god54; Gynny; muravied · 3 June 2012 to 4 June 2016
Muravied enthusiastically praises the outrageous opening as exceptionally funny. Gynny instead stresses the movement from shock through melancholy to a sly, dark ending, identifying the exploitation of human hormones as its central device. God54 also admires that premise but finds the protagonist’s eventual change insufficiently motivated, so the ending weakens an otherwise original story.
God54 finds an unusually serious moral story beneath the fantastic premise, arguing that even a bad person contains a better self that may never emerge. Vam-1970 instead stresses the collective's ability to deal with an overbearing superior, while finding the magical element underdeveloped. Both read the story as instructive, though they differ over its achievement and originality.
Romanpetr reads the contest between an exceptional trickster and ordinary townspeople as humorous fiction with a serious philosophical underside. The review interprets the reversals as a warning against wasting unusual gifts on an uncomprehending crowd. Although the narrative supplies comic encounters, its implications about talent, ignorance, and power make it chiefly suitable for reflective adult readers.
k2007 approaches the American soldiers’ New Guinea adventures through Lafferty’s wartime experience. The reader argues that the landscape and oppressive climate therefore rest on personal knowledge rather than descriptions borrowed from travel magazines. This brief, favourable response awards eight out of ten; its principal concern is the authority of the setting, rather than the story’s structure or fantastic elements.
Romanpetr reads the miniature as a philosophical parable about people and machines trying to solve a great problem while forgetting both their meeting and its purpose. The reviewer sees an aimless effort to be useful without understanding usefulness. Lafferty's characteristic irony remains visible, though the story's brevity gives it less force than in his stronger work.
alex1970 finds an engaging inquiry into sin and civilization, asking whether exposing another being’s vulnerability justifies the price of success. god54 reads the story as a double satire, directed both at those who imagine themselves perfectly holy and at missionaries. The two responses emphasize moral uncertainty and religious presumption respectively, with alex1970 the more enthusiastic reader.
fail of reality; majj-s; god54 · 6 June 2016 to 16 March 2025
fail of reality reads the spatial trick as a wish for protection against the dispossession of Indigenous people. majj-s thinks the device itself has precedents in Simak and Bulgakov, but values Lafferty’s mixture of Irish and Native American folklore. god54 responds less favourably, using the premise for a sarcastic comparison with land privileges in Russia. The cluster shows how a seemingly light fantastic joke invites sharply local political associations.
fail of reality; majj-s; zazai · 14 September 2021 to 19 March 2025
fail of reality and majj-s read the story as a satire of people who refuse evidence that disturbs their established picture of the world. Both invoke Swift, while majj-s also suggests Russian comparisons. zazai accepts its originality but dislikes its postmodern character and attacks the expensive American selection’s many admiring introductions.
fail of reality; romanpetr · 19 March 2019; 22 June 2025
fail of reality reads the doctor’s approaching death through Tolstoy’s The Death of Ivan Ilyich and the fear that personal identity may disappear into an impersonal eternity. The reviewer places the story alongside serious Russian fiction about mortality. romanpetr instead begins with Chukovsky’s Doctor Aybolit, finding the alien medical practice amusing but naive, with a philosophical ending.
osipdark reads the story as an inquiry into Halloween’s permission for ritual violence. The essay invokes René Girard’s scapegoat theory and compares Lafferty’s cruelty with contemporary horror films and later slashers. Long passages illustrate the argument, which treats the story’s brutality as more than nostalgia for childhood mischief.
Muravied enthusiastically treats the story as another of Lafferty’s extraordinary comic anecdotes, praising its jokes about astronauts, spiders, and a deteriorating canine companion. The response also records a striking circumstance of reading: cheerful music from a child’s cartoon softened the disgust of a gruesome cocoon scene. The review therefore captures pleasure partly shaped by the reader’s immediate surroundings.
borisbolgarsky; vam-1970; olpo70; god54; muravied; sanchezzzz · 15 September 2008 to 3 September 2026
olpo70 and borisbolgarsky enjoy the surreal prose without needing a settled interpretation, while muravied particularly relishes its anarchic jokes. sanchezzzz and god54 take the intermittent life of pleasure as an invitation to examine purpose and responsibility. For sanchezzzz, living intensely also means doing something useful or kind; god54 warns that a purposeless person will serve someone else’s aims.
Romanpetr calls this one of the strongest recent contact stories in their reading, admiring its mixture of thriller, detective puzzle, and irony. The review emphasizes the vanished expeditions, the suspicious offer to revive a dead commander, and the successor’s dependence on intuition. Lively narration and occasional similarities to Robert Sheckley support the favorable assessment.
Romanpetr finds this one of Lafferty's less impressive stories. The conversation between two acquaintances seems thin in meaning and burdened by pretentious philosophical language. The reviewer recognizes a satire of empty talk and a question about why people flee reality, but regards the result as chiefly suitable for devoted admirers rather than a persuasive introduction to the author.
осеньхарасё; vam-1970; muravied; Babai · 3 May 2011 to 28 December 2024
muravied praises the trap, preparation, and payoff, while vam-1970 celebrates the captive’s ingenuity and reversal of his captor’s fortunes. Babai finds the opening promising but the ending disappointing and misses Lafferty’s usual humour. осеньхарасё raises a different objection: the human victor adopts the alien’s cruelty, making the revenge morally repellent rather than satisfying.
Romanpetr praises the story's gentle humour, suspense and effective ending, comparing it with Sheckley's strongest work. The police investigator supplies a firm narrative centre that, for this reviewer, prevents the tale from becoming merely abstract social satire. The withheld explanation of visitors' deaths sustains a light detective plot, and the review emphasizes the ease and pleasure of reading it.
sanchezzzz; alex1970; Vimanly; god54; vam-1970; осеньхарасё · 10 September 2008 to 27 December 2024
Vam-1970 admires the satire of political irresponsibility, while god54 and Vimanly see centralized coercion beneath apparent freedom. Sanchezzzz finds the society cruel and complacent; alex1970 praises the unsettling cost attached to democratic participation. Осеньхарасё dissents aesthetically, considering the story an inferior counterpart to Sheckley’s “A Ticket to Tranai”, with unfunny jokes and little plot. The responses disagree over both political meaning and execution.
UltraViolett reads the Camiroi’s institutions as liberalism pushed into a contradictory, authoritarian extreme. Easy citizenship, lawmaking and access to the presidency appear permissive, yet compulsory dictatorship and regulation by the Majority expose the limits of that freedom. The reviewer calls the result an apparent democracy that controls its citizens and punishes mistakes.
Capitalistka delights in the school curriculum and the contrast between ordinary terrestrial education and the Camiroi’s alarming efficiency. The reviewer treats the detailed ten-year programme as deliberate absurdity and finds the author’s strangeness more attractive because it is offered without ostentation. Having browsed Nine Hundred Grandmothers, capitalistka regards this story as the discovery that makes Lafferty’s particular appeal clear.
jansson; fail of reality · 10 March 2015; 2 October 2024
jansson delights in the absurdly demanding school curriculum and its contrast with Earth’s educational compromises. fail of reality gives a longer, more enthusiastic reading, connecting the trained children with Efremov’s future humanity and finding a Swiftian attack on educational complacency. The latter reviewer treats the story as newly relevant to declining reading habits and standardized instruction.
NHTMN; ozor; muravied; iLithium; vesnyshka; god54; vam-1970; andrij · 9 July 2009 to 7 August 2025
Readers debate whether repeated invention enriches life or consumes it. Vesnyshka and iLithium find a choice between achievement and ordinary happiness; muravied approves the hero's refusal to keep revising his past. God54 objects that lasting withdrawal from creativity contradicts human nature. Ozor adds a different observation: the story illustrates the difficulty of passing advanced knowledge to a less developed recipient.
Romanpetr praises a brisk, effortless comic tale built around an ill-considered quarrel with a small supernatural thief. The reviewer finds the humor sparkling and the conclusion heavily ironic, interpreting the encounter as an instructive reversal of the human protagonist’s confidence. The gnome’s preference for black humor gives the familiar lesson about laughing last a darker edge.
fail of reality; Неизвестный Ч.; majj-s; muravied; vam-1970; god54 · 30 April 2012 to 28 September 2024
This cluster exposes the limits of Lafferty’s Russian reputation as a humorist. muravied chiefly enjoys the strange folk tales, finding the ending only a little sad. Неизвестный Ч. is shocked by the horror beneath the comedy. majj-s reads a tragedy of genocide, while fail of reality develops a long argument about colonial exploitation, corporate profit, and empathy with nonhuman lives. vam-1970 particularly admires the invention of an alien folklore.
osipdark interprets the ecological settlement’s rites as a religion that has fossilized into compulsory repetition. The reviewer argues that Lafferty attacks ritual emptied of faith rather than religion itself, connecting the escape from cycles with Christian truth and progress. The discussion also proposes a satire on radical environmentalism.
fail of reality; majj-s · 25 November 2021; 31 May 2025
Two responses disagree about the pleasures of imaginary early television. majj-s enjoys the melodramatic invention, sees a possible feminist angle, and offers Catherynne Valente’s Radiance as a comparison. fail of reality finds the many invented television stories overfull and tiresome, without settling the question of their satirical purpose. The latter reviewer nevertheless respects Lafferty’s freedom to write such a peculiar work.
This reader’s review interprets “Seven-Day Terror” chiefly as a cheerful story of childhood invention. It compares the atmosphere with Bradbury’s lighter fiction, the disappearing objects with Daniil Kharms’s absurdity, and the children’s dialogue with Shaw. Several quotations support its account of the story’s deadpan comedy. The author considers the ending happy and harmless.
fail of reality; Gynny; Стронций 88; others · 14 November 2013 to 13 January 2026
fail of reality reads the story as a return to the lost imaginative powers of childhood and compares its tone with Bradbury. Стронций 88 calls it a small piece whose vivid invention makes it unusually memorable. Gynny enjoys the comedy while questioning whether the children are too calculating for their ages.
Penelopa2; ultraViolett · 16 April 2019; 9 May 2020
Penelopa2 finds a cheerful story that recalls Henry Kuttner’s Hogbens and the parental suspicion aroused when energetic children suddenly become quiet. UltraViolett also enjoys the simple comic explanation of the disappearances, but sees a more disturbing possibility beneath it. The latter reviewer compares the lingering unanswered questions with Stephen King’s “The Jaunt.”
Алираэль; god54; A.Ch; sanchezzzz · 13 October 2013 to 10 May 2026
sanchezzzz finds an unsettling depth that differs from the playful Lafferty previously encountered, with a predictable ending that does not diminish the journey. A.Ch reads the apparent tricks as questions about other kinds of people, individual historical agency, and mortality. god54 praises the combination of speculative theory and psychology. Алираэль instead thinks the ancient race, time manipulation, and secret group require a novel’s space to develop properly.
fail of reality; Babai; vam-1970 · 29 January 2011 to 17 October 2024
fail of reality initially finds the treatment of addiction weaker than Philip K. Dick’s A Scanner Darkly, then revises the objection to its supposedly fairy-tale manner and notices a collapsing social world. Babai praises the unresolved boundary between drug experience and cosmological fantasy, while warning that some verbal jokes resist Russian translation. vam-1970 also regards the drug imagery as morally ambiguous.
romanpetr enjoys the invention of an aerosol that abolishes friction and its energetic young promoter, Austro. The review follows the movement from entrepreneurial enthusiasm to human anxiety about possible catastrophe. It finds the treatment light and entertaining, yet also ironic and disapproving of the inventor’s eagerness to distribute a discovery whose consequences remain uncertain.
fail of reality; alex1970; Prosto_Chitatel; others · 24 January 2011 to 31 August 2026
Several readers turn the story into an argument about accelerated consumption. fail of reality finds a satire of hollow, endlessly replaceable desires and compares its inhabitants with Eliot’s hollow men. alex1970 likewise considers natural limits a protection against this unhappy speed. Prosto_Chitatel doubts the technological explanation but accepts the satirical premise, regretting that these extraordinary powers produce no common purpose. The disagreement concerns the imagined mechanism more than the social diagnosis.
Flüggåәnkб€čhiœßølįên (quoted as Роман Мережук); Иллария; Mutabor; ar_gus · 10 April 2012 to 25 April 2012
A substantial reading-group debate compares the stories' accelerated societies. Roman Merezhuk objects that Lafferty wastes his premise on commerce; Illaria instead sees the pressure of compressed time and information as the central conflict. Mutabor's long essay celebrates adaptive intelligence and reads Lafferty alongside Wells and the Strugatskys. Ar_gus challenges this optimism, arguing that the endlessly rebuilt city and disposable art suggest sterile repetition rather than progress. The subsequent exchanges sharpen these opposed readings.
Leguha; ultraViolett; Ev9enia · 1 March 2018 to 24 August 2022
All three reviewers connect the story with accelerating contemporary life. Leguha praises its deceptive lightness and the uneasy recognition that speed can replace depth. UltraViolett asks whether instantly fulfilled ambitions would leave anything worth living for and urges a pause. Ev9enia develops the most sustained interpretation, treating social time as the protagonist and connecting the story with a society organised around experiences, unstable fashions and the pursuit of intense private satisfaction.
Pereslegin takes “Slow Tuesday Night” as an image of a society in which thought, invention, production, and entire careers proceed at extraordinary speed. His opening extracts introduce an argument about the mismatch between rapid social change and slow administrative decisions. The essay develops proposals for a future society through that contrast. Lafferty supplies its governing example; the discussion is futurological rather than a close literary reading.
In his discussion of possible galactic warfare, Pereslegin challenges the assumption that space travel must await a morally transformed humanity. The chaotic acceleration of “Slow Tuesday Night,” placed beside Vinge’s technological future, gives him a counterexample: rapid development might send present-day people into space with their conflicts intact. Lafferty enters a wider argument against treating Efremov’s peaceful, unified humanity as the necessary form of a spacefaring civilization.
Romanpetr describes a comic investigation into who reached distant planets before their supposed discoverers. The review stresses the rapid changes of scene and warns that readers unfamiliar with Lafferty may need time to adjust. It interprets the Indigenous American material as a satire of American racism and obsessive fear of Native peoples, while judging the story an unpretentious and enjoyable exercise.
Both readers find the story’s mystery insufficiently resolved. muravied describes a violent, confused experience resembling a drug dream and remains unsure what the giant bear represents. god54 initially welcomes the unusual planet and the promise of discovery, then objects that the author leaves readers to supply the missing conception, evidence, and ending themselves.
muravied; god54; newman; vam-1970 · 2 May 2012 to 9 May 2018
Muravied delights in the census taker's madness and the sharp dialogue; god54 values the unusual premise and malicious irony. Newman admits uncertainty about the story's meaning but finds it entertaining enough to continue reading Lafferty. Vam-1970 recognizes an American variation on the biblical destruction of Sodom and Gomorrah, praising its imaginative force while finding no explicit governing idea.
k2007 gives this collection seven out of ten and reports satisfaction with its varied inventions. The brief review distinguishes journeys through time, adventures on other planets, and strange occurrences within the familiar world. It offers a general recommendation based on interesting ideas and variety, without identifying favourite stories or discussing the translations.
fail of reality; sanchezzzz; god54; stas-no; Vimanly; vam-1970 · 15 September 2008 to 19 July 2025
fail of reality compares the baffling encounter with Lem’s alien worlds, then reconsiders how much trust the expedition’s narrative deserves. sanchezzzz initially suspects a poor translation but ultimately thinks the disrupted language faithfully reflects the damaged observers. god54 likes the premise while finding that explanation and relentless irony diminish its mystery. stas-no dismisses it as disposable absurdity; Vimanly admires the balance of nonsense and wit.
UltraViolett responds chiefly to the unfamiliarity of the style and premise. The reviewer admits not yet being accustomed to Lafferty but regards that difficulty as evidence of an individual literary voice. In particular, the story seems to maintain a calculated balance between nonsense and delicate irony, an unstable boundary that the reviewer finds pleasurable rather than merely confusing.
osipdark argues that the story portrays the end of the Enlightenment: science turns back into astrology while public prophecy becomes ordinary mass entertainment. The review draws connections with news feeds, populist politics, habitual violence and the loss of human value. It praises the combination of black comedy, intellectual horror and social criticism, and explains why the reviewer places the story among epidemic narratives.
Babai; god54; osipdark · 19 September 2012 to 23 August 2023
Osipdark praises the sense of complete worlds behind Lafferty's short fiction and develops a philosophical reading of the story's questions about perception, drawing on Wittgenstein and comparing its poetic inquiries with Pelevin. God54 finds the psychological premise beautiful but potentially frightening. Babai enjoys the combination of invented worlds, philosophical play, historical irreverence and mockery of mutual misunderstanding between men and women.
fail of reality; god54; kavarkad; majj-s · 3 June 2016 to 23 March 2025
majj-s enjoys the absurd extension of the butterfly effect and reads the story as a warning against improving things too confidently. god54 applies its satire to travellers who presume they can repair history, an especially familiar figure in Russian popular fiction. fail of reality shares the warning but questions the simplified model of historical causation. kavarkad finds the repeated joke dull until its final reversal.
vam-1970; god54; Gynny; Babai; sanchezzzz · 15 September 2008 to 12 May 2018
Babai enjoys the jokes about Hollywood, government, and the disastrous gift of power. Gynny and god54 think later repetitions of the premise have dulled its original impact. sanchezzzz reads the catastrophe as knowledge becoming destructive in immature hands; vam-1970 extends that warning from children to inadequately prepared politicians. The responses disagree about freshness more than about the danger imagined.
osipdark places this miniature beside two other comic stories and argues that its target is pedantry rather than simple forgetfulness. The review compares its professor with anecdotes about Norbert Wiener, quoting a Russian history of artificial intelligence at length. It proposes a possible source for the joke without demonstrating direct borrowing. The essay also considers the difficulty of explaining a joke without retelling it.
servago reads the story chiefly as an account of love transforming a moneylender’s existence. The review follows his attachment to a disabled girl in a harbour tavern and stresses the willingness to embrace what one formerly hated, surrender precious things, and disappear. It finds relatively little overt fantasy within the deliberately unreal setting, awarding eight out of ten.
The two reviewers divide sharply over the treatment of love. Romanpetr welcomes an unusual parable about a failed lover meeting an apparently perfect extraterrestrial woman and interprets its irony through changing attitudes toward interracial relationships. God54 finds the same comic treatment unpleasant, arguing that it tramples on love and the ideal woman instead of developing the psychological possibilities of interplanetary romance.
vam-1970; god54; muravied; Babai · 20 March 2011 to 9 May 2018
Several readers interpret the alien setting as a satirical view of human consumer society, competition, extortion, and ingratitude. Babai finds the story fundamentally sad, while muravied enjoys its distinctive cynical humor despite familiar plot devices. God54 is less persuaded, arguing that the extraterrestrial scenery merely dresses up conventional moralizing whose lesson changes little in practice.
god54 praises the premise, prose, and narrative interest while finding the irony occasionally excessive. The review treats collective loss of memory as politically recognizable, applying the story to the reviewer’s account of Belarusian history, language, and cultural identity under Soviet rule. Its judgment therefore rests partly on a contemporary historical analogy, rather than solely on the fantastic invention.
Bar-Yahalom recalls reading Lafferty in Hebrew in the Israeli magazine Fantasia 2000 in 1982. A substantial opening retells the story of children whose lives unfold and end within days on an abundant alien planet. He then makes this accelerated world an analogy for internet language, where words emerge, acquire layered origins, and become obsolete with unusual speed.
fail of reality; faustine · 11 December 2022; 18 July 2025
fail of reality admires the nightmare city as a religious and political dystopia, comparing it with Huxley, Ishiguro, and Lem. The reviewer questions the rulers’ stated purpose but hopes the hinted rebellion offers an escape. The anticapitalist interpretation is explicitly acknowledged as a personal inclination. faustine gives a shorter appreciation of the tension between the comic central metaphor and the society’s cruelty, finding discomfort its prevailing effect.
Publishing and translation
These sources describe the choice of stories, the work of translation, and the publication of Russian editions. Publisher copy and translated endorsements are identified as such.
Botev introduces a translation with an unusually specific account of what attracted him to the story: its strange information, explanatory theory, mounting verbal madness, and refusal to let the reader understand events before the characters do. He also records a deliberate intervention in Russian, exploiting the difference between familiar and formal second-person pronouns to heighten the confusion. The full translation follows the introductory discussion.
This publisher’s announcement introduces Lafferty through his admirers, Irish and American folklore, verbal invention and disregard for genre boundaries. It argues that putting style before plot helps explain both his standing among fellow writers and his limited appeal to a broad audience. The article announces Azbuka’s translation of Jonathan Strahan’s selection and lists the twenty-two stories with their introductory contributors.
This announcement records Azbuka's plans to publish the 2019 selection of twenty-two stories with introductions by Lafferty's admirers. It describes his existing Russian readership as a small circle served by limited editions. Drawing on the publisher's announcement, it emphasizes wordplay, unusual verbal constructions, absurdity and the priority of style over plot as both attractions and obstacles for a wider audience.
Сергей Серебрянский и Борис Невский (Sergei Serebryansky and Boris Nevsky), interviewing Александр Жикаренцев (Alexander Zhikharentsev) · 27 September 2019
In this interview about publishing translated speculative fiction, Zhikharentsev explains that he had long wanted to publish Lafferty but had not found a suitable approach. The new selection, supported by introductions from prominent writers, offered that opportunity. He describes Lafferty as an author with a devoted but narrow audience and hopes that the volume will introduce him to more Russian readers.
Azbuka editorial and publicity staff · 2021 edition; webpage undated
Azbuka presents its Russian collection through endorsements from Gaiman, Wolfe, Bisson, Sturgeon and Swanwick, together with brief examples of the stories’ fantastic premises. The page identifies translators, format and ISBN, and links an authorized sample. It advertises the volume as Lafferty’s first Russian book publication, a claim qualified by the existence of earlier fan editions.
The final Azbuka announcement combines publication information with an account of Lafferty’s literary position. Translated appreciations by Wolfe, Sturgeon, Delany and others present him as an original writer whose humour contains allegory and danger. A passage credited to Benedictinstitute.org places him within overlapping Catholic, Irish, mystical and postmodern traditions. The post also introduces Past Master.
Narutoskee enjoys the picaresque comedy and black humour but devotes unusual attention to translation. Comparing the English opening with several machine translations, the reviewer praises the published version’s colloquial voice, then questions its handling of “single” and “garbage disposal.” Joe’s intelligence is distinguished from education, and the annihilator becomes a warning about releasing inventions without adequate testing.
Lafferty.ru editors and named translators · Undated; includes translations associated with 2020 editions
The translation directory brings together three Russian versions of “Seven-Day Terror” and samples from ten novels, with translators and some revisers named. It records a network of translators working beyond the better-known magazine stories, as well as differing Russian titles and revisions. Its credits distinguish Maria Litvinova from Marina Litvinova.
These records follow Lafferty into animation and a workshop on the future. Film catalogues establish credits and production details; the film has not been reviewed for this guide.
This report visits a workshop near St Petersburg organized around Pereslegin’s ideas about the future. Participants are urged to work around the clock, with “Slow Tuesday Night” offered as the model for living several lives in one night. The article describes the workshop’s rapid exchanges, speculative proposals and exhausting schedule, with Lafferty’s imagined acceleration serving as a practical ideal.
Animator.ru · Undated record; film released in 1987
The animation catalogue identifies the 1987 Soyuzmultfilm production as a puppet film based on Lafferty. It credits director Mikhail Kamenetsky, screenwriter A. Korin, designer Irina Kostrina, and the animators, puppet makers and voice cast. The film adapts “Seven-Day Terror” under the Russian title Ischezatel, meaning The Disappearer.
These bibliographies establish title correspondences, translators, editions, and contents. More individual records appear below and in the title concordance.
This series page identifies ten volumes of a small Russian collected edition, including novels, established English collections, and selections assembled specifically for Russian readers. It supplies a route to detailed contents and publication records through 2024. The individual records classify these books as samizdat. Several carry the fictitious imprint year 2115, which must not replace their actual catalogue dates.
The record documents the 544-page Azbuka edition published in March 2021, with an initial print run of 3,000 and ISBN 978-5-389-18353-7. Its detailed contents identify twenty-two stories, translators, page ranges, contextual introductions, afterwords, and Lafferty's essay on writing Continued on Next Rock. The note explicitly identifies the source as Jonathan Strahan's 2019 British collection.
Karatsupa combines a biographical overview with English, Russian, and Polish bibliographies. The Russian section identifies early magazine translations, translators, pagination, and the 2021 collection. Its dated entries reach the 2025 Dangerous Visions translation. Russian titles in square brackets elsewhere often serve as reference glosses, so those labels alone do not demonstrate that a translation was published.
FantLab contributors · Index checked 16 September 2026
Maria Alexandrovna Litvinova’s bibliography pairs Russian and English titles for numerous stories and The Devil Is Dead, with dates and edition links. It includes rare late stories and previously uncollected work. Maria Alexandrovna is a different translator from Marina Dmitrievna Litvinova, who also translated Lafferty. Some dates in the list are fan-edition imprints and differ from actual publication years.
FantLab contributors · Index checked 16 September 2026
Abdullin’s bibliography records Arrive at Easterwine, Not to Mention Camels, Annals of Klepsis, Sindbad: The Thirteenth Voyage, and The Elliptical Grave, alongside many stories. It pairs Russian titles with English originals and links the editions, including Institute for Impure Science stories and later fan volumes. The edition records distinguish actual publication dates from the imprints used in some small editions.
FantLab contributors · Index checked 16 September 2026
Gontarev's bibliography directly pairs Russian translation titles with their English originals and lists associated editions. It documents both earlier periodical circulation and the later fan translation programme, including numerous stories absent from the commercial 2021 selection. Entries also reveal title variants and joint translation credits. Dates require consultation of edition records because some fan volumes use backdated or fictitious imprints.
FantLab contributors · Index checked 16 September 2026
FantLab provides the main cross-reference between Lafferty's English works and Russian titles, distinguishing stories, novels, collections, essays, and cycles. Individual records connect translations to editions and reader responses. Its separation of ordinary editions from samizdat is essential for interpreting the extensive Russian translation corpus. Work dates describe original publication, while translator and edition pages supply Russian dates.
This alphabetical reference gives Lafferty’s lifespan, selected novels, and cross-references from several Russian spellings of his name. It also links other biographical resources. The Russian labels attached to novels are reference glosses, which do not establish that translations appeared. For Space Chantey it uses Космический морской запев; the attested translated title is Космические саги.
Буквица contributors · Index checked 16 September 2026
The magazine bibliography independently lists Lafferty's story in the August 1965 issue of Young Technician, pages 51 to 54, under the numeral form 7 страшных дней. It records the printed author spelling Лэфферти, translator credit, and illustrator. This supports the earliest Russian publication located in the present search and helps distinguish the story heading from its contents-page title.
Further links
Shorter references, additional story reviews, individual records, and unavailable pages follow. The descriptions state whether the text, a relevant passage, or only a bibliographical record was examined.
Shorter references and notices
L001Просто так. angels_chinese · 23 September 2006. A diary paragraph records the arrival of an unread first edition of Fourth Mansions from America, comments on its modest price, and notices Roger Zelazny’s name misspelled as Zelasny on the cover. The writer has not yet begun the novel.
L002ЮМОР И САТИРА В ФАНТАСТИКЕ. Sergei Alekseevich Polikashin · 13 July 2022. A personal bibliography sorts stories from Soviet anthology series into humour and satire. It places “Seven-Day Terror,” from volume 21 of the Biblioteka sovremennoi fantastiki, among the humorous works. The entry gives no individual critical explanation.
L003Магия Макгрудера. botev · 5 February 2014. A second complete Lafferty translation, introduced by a brief announcement and an invitation for feedback. It follows Botev’s more extensive discussion of translating “Bactrians and Dromedaries, Clem.”
L004Хит-парад фантастики XX века: 1967. bvi · 15 November 2006. An open reader poll includes “Seven-Day Terror” among works assigned to 1967. The displayed results give it no votes. There is no accompanying discussion of the story.
L005Р. А. Лафферти : Девятьсот бабушек (сборник). Cumama · 24 May 2016. A quotation notebook reproduces part of Avva’s review, credits and links that source, then selects passages from “Nine Hundred Grandmothers” and “The Six Fingers of Time.” The critical interpretation belongs to Avva; the blogger’s contribution is the selection of excerpts. Mobile version; Original Avva review; Part 2; Part 3; Part 4.
L006Р. А. Лафферти : Девятьсот бабушек (сборник) (2). Cumama · 25 May 2016. A selection from “Frog on the Mountain” concentrates on the failure of a supposedly superior people and on questions its hosts cannot understand. This is an excerpt notebook without independent commentary.
L007Р. А. Лафферти : Девятьсот бабушек (сборник) (3). Cumama · 26 May 2016. Quotations from “All the People” emphasize philosophical terminology, the difficulty of naming concepts, and Anthony’s unusual knowledge of other people. No developed review accompanies the extracts.
L008Р. А. Лафферти : Девятьсот бабушек (сборник) (4). Cumama · 27 May 2016. Excerpts from “Primary Education of the Camiroi” concern exact memory, deliberate learning, and the narrator’s proposed educational reforms. The post records selected passages rather than a critical assessment. Mobile version.
L009Р. А. Лафферти : Узкая долина. Cumama · 6 July 2016. Selected passages from “Narrow Valley,” including the exchange about stereotypical Native American headgear and the comparison between apparent and actual lunar size. There is no accompanying interpretation. Mobile version.
L010Прочитать: Р. А. Лафферти. foggy_aaron · 24 September 2015. An abridged repost of Avva’s recommendation, explicitly credited and linked. It preserves the suggested reading route and advice to follow the original collections, without supplying an independent assessment. Source review; Blog home, duplicate search result.
L011Я понял : это намёк. g_i_n_k_g_o; comment author unverified · 12 August 2023; comment dated 13 August 2023. An indexed reader comment recommends “Seven-Day Terror” beneath a general discussion of short fiction. The full comment was unavailable.
L012РАФАЭЛЬ АЛОИЗИУС ЛАФФЕРТИ: ПРОКАТИСЬ В ЖЕСТЯНКЕ. germiones_muzh · 30 December 2016. A Russian repost of “Ride a Tin Can” under the title “Прокатись в жестянке,” without a substantial editorial introduction.
L013РАФАЭЛЬ АЛОИЗИУС ЛАФФЕРТИ: НЕДЕЛЯ УЖАСОВ. germiones_muzh · 16 April 2018. A Russian repost of “Seven-Day Terror” using the title “Неделя ужасов.” The post presents the story itself and adds no developed critical discussion.
L014Лучшие книги 2021 года: выбор литературных критиков. ГодЛитературы.РФ; selection by Василий Владимирский (Vasily Vladimirsky) · 28 December 2021. A poll of thirty critics and literary observers includes Lafferty’s 2021 Russian collection among Vasily Vladimirsky’s three selections. Respondents were asked to name books that had made the strongest impression during the year. The collection appears among titles receiving one vote. Vladimirsky supplies no explanation of his choice.
L015Человек не отсюда. Памяти Алана Кубатиева. Василий Владимирский (Vasily Vladimirsky) · 5 July 2022. In his memorial to the translator and writer Alan Kubatiev, Vladimirsky names Lafferty among the difficult and distinctive authors whom Kubatiev translated. The reference forms part of a portrait of Kubatiev’s wide literary interests, from unusual speculative fiction to Joyce and Swift. No individual Lafferty story is discussed.
L016Фантастика‑2021: курс на импортозамещение. Василий Владимирский (Vasily Vladimirsky) · 8 January 2022. Vladimirsky places the Lafferty collection within a year when Russian publishers relied heavily on older foreign fiction. He calls Lafferty a distinctive writer admired by other writers and presents Azbuka’s volume as his first Russian author collection. The book appears in the survey’s discussion of publishers returning to twentieth-century classics. Fanfanews LiveJournal mirror.
L017Мой персональный топ-70 научно-фантастических рассказов. humus · 7 December 2006. A personal reading list includes “Seven-Day Terror,” under the name Robert Lafferty, among seventy favorite science fiction stories. No explanatory comment accompanies the choice.
L0182016. jazzzi · 2016; annual log. An annual reading log records Nine Hundred Grandmothers as an electronic-file read on 18 February. There is no review or rating. Books tag, where entry was verified.
L0192021. jazzzi · 1 January 2021; updated through the year. An annual reading log records reading the printed Russian collection on 23 April 2021. It gives no evaluation. Dreamwidth mirror.
L020Р.А. Лафферти. Дни, полные любви и смерти. kotbeber · 4 October 2021. A cover and bibliographic notice for the 2021 Azbuka volume, listing its series, pagination, and a print run of 3,000. It contains no evaluative review.
L021Р.А. Лафферти. ЛУЧШЕЕ. kotbeber · 5 November 2024. A cover and publication notice for the 2016 Zarya collection, giving Veliky Guslyar as its place of publication and 467 pages. This is a different Russian selection from the later Azbuka edition of The Best of R. A. Lafferty.
L022Дни, полные любви и смерти. Лучшее: покупательские рецензии. Серых Валерий; leo tolstoy; alex_keller · 10 December 2022 to 30 December 2022. Three visible purchaser posts offer photographs and brief descriptions of the physical edition, including its thin white paper. They contain no sustained literary judgments. The page heading reports four reviews, but only three posts are displayed. Review route, inaccessible.
L023Россия открывает Р. А. Лафферти (англоязычная статья). Sergei Sobolev and Yakov Varganov · 2015. Writing in English, Sobolev and Varganov trace Soviet magazine appearances, the brief expansion of translations after 1991, and the later turn to fan publishing. They report eleven Russian books and at least seventy-five translated stories by February 2015, and acknowledge Sergei Gontarev’s help. The authors also offer explanations for Soviet and commercial resistance to Lafferty’s work. Essay directory.
L027Харизма. Василий Владимирский (Vasily Vladimirsky) · 2003-02. Reviewing Leonid Kaganov’s novel Charisma, Vladimirsky argues that some accomplished short story writers have difficulty with longer forms. He lists Lafferty beside Harlan Ellison, Dmitry Bilenkin and Alexander Siletsky as examples. The comparison occupies a brief concluding passage and names no individual Lafferty novel. Original Ozon URL recorded by the mirror.
L028Р. А. Лафферти «Школа на Камирои». skazka_detyam, in meganezia · 12 August 2015. The short introduction compares Camiroi with the community’s imagined Meganesia and suggests placing it centuries into that society’s future. Most of the post reproduces the extravagant school syllabus.
L029Фантастика и фэнтези 2021: какие ещё книги выйдут? Большой список. Борис Невский (Boris Nevsky) · 22 December 2020. This survey of forthcoming books includes a single entry for a collection of Lafferty’s best short fiction. Nevsky presents him as an American classic whose work had scarcely appeared in Russian. The item appears among forthcoming standalone novels and collections, before the Azbuka volume’s eventual release in 2021.
L030Что почитать из фантастики? Книжные новинки апреля 2021. Борис Невский (Boris Nevsky) · 3 April 2021. Nevsky leads the science fiction section of this monthly preview with the Russian Lafferty collection. A short introduction invokes Gaiman’s admiration and describes several improbable exploits by Lafferty’s characters: crossing a galaxy in a tin can, solving the mystery of a spaceship graveyard and winning a wager with God.
L031Иван Ефремов: «Владею языком слабо». Что мы узнали из трёхтомника «Переписка И. А. Ефремова». Василий Владимирский (Vasily Vladimirsky) · 28 January 2025. Reviewing Efremov’s collected correspondence, Vladimirsky quotes a 1971 letter recommending that a young Soviet diplomat in the United States meet several American writers, including Lafferty. The letter names no Lafferty work. Efremov singles out Brunner and Zelazny as his own preferences among the writers he recommends meeting.
L032Штрихи к портрету вечности. Василий Владимирский (Vasily Vladimirsky) · 16 March 2021. Vladimirsky’s review of Gaiman’s Endless Nights identifies the chapter “On the Peninsula” as a development of an unwritten Lafferty story. He describes its archaeological discovery of objects from a possible future and judges the connection to Gaiman’s Endless comparatively artificial. The Lafferty reference occupies one paragraph of the larger review.
L033Цитаты. Р. А. Лафферти.. Sergey Toronto · 7 November 2018. A single maxim about the best time to write a book is attributed to Lafferty, alongside his life dates. The post gives no source for the saying.
L034Р. А. Лафферти. «Медленная ночь со вторника на среду». vadim_i_z · 11 July 2026. A brief introductory question asks whether Lafferty anticipated something strikingly contemporary, followed by the passage about mechanically producing philosophical works. The blogger leaves the modern comparison unnamed.
L035Знание-Сила. Фантастика 1974-2014. val20101 · 28 January 2015. A magazine-content index records “Hog-Belly Honey” in the February 1974 issue, translated by R. Nudelman and illustrated by N. I. Koshkin, on pages 56–58.
L036Советская кинофантастика 1987-1988 (04). valera123456qw · 28 December 2021. A filmography entry identifies the 1987 puppet animation The Disappearer as an adaptation of “Seven-Day Terror,” lists its production credits, and summarizes the boy’s use of the device to help his mother write poems. The surrounding post is a survey of Soviet screen science fiction.
L038Моя библиотека фантастики. Часть 136. 31 июня. 1968 год. yuvlatyshev · 27 November 2022. This collector’s post records “Seven-Day Terror” as “Неделя ужасов” in R. Pomerantseva’s translation, within the 1968 anthology June 31. The short plot summary repeats the account in the blogger’s earlier anthology survey.
L039Моя библиотека фантастики. Часть 194. Не только мёртвые. 1992 год. yuvlatyshev · 24 January 2023. The survey of a 1992 anthology identifies Sergei Gontarev’s translation of “Nine Hundred Grandmothers,” its page range, and the explorers’ question about the apparent absence of elderly or dying inhabitants. This is bibliographic description with synopsis.
L040Сергей Переслегин: Скипидар с авианосцами и коньяк с Кораном. Vasily Vladimirsky interviewing Sergei Pereslegin · 30 October 2012; reposted 13 November 2012. Pereslegin names Lafferty beside Simmons, Vinge, and Stephenson among the rare writers he considers seriously concerned with the future. The mention occurs in an interview about his move from literary criticism to forecasting and historical speculation; no individual Lafferty work is discussed.
Catalogues and indexes
L041Исчезатель: eTVnet. The listing describes a boy helping his mother write a poem by constructing a device that makes objects disappear. Records the film as a ten-minute Soyuzmultfilm production from 1987.
L042Анналы Клепсиса. Полдень XXII, 2022, 20 copies; includes Sindbad and stories; imprint 2115.
L043Воскресная колонка. Заря actual 2018; book imprint 2014; title story=Magazine Section.
L056Утро великого дня. Заря actual 2018, 30 copies; book imprint 2014.
L057Исчезатель: Кино Mail. A film catalogue record with production credits, including Alexander Korin and Lafferty.
L058Исчезатель (1987). Film credits and a short synopsis describe a boy who builds an unusual machine to help his mother. The entry lists Mikhail Kamenetsky as director and Alexander Korin and Lafferty under screenplay.
L060Исчезатель: Media Guide. A television programme entry whose synopsis identifies the adaptation of Lafferty’s story and the boy’s invention. It supplies no review.
L061Исчезатель: Okko. A streaming catalogue entry for the 1987 Soyuzmultfilm adaptation.
L062Исчезатель: Wink. A streaming catalogue entry identifying the Soviet animated film and Lafferty.
Historical links and texts not examined in full
L063Умер Рафаэль Лафферти. Борис Аникин, псевдоним Александра Ройфе (Boris Anikin, pseudonym of Alexander Roife) · 1 April 2002. The annual bibliography of Knizhnoe obozrenie records an obituary by Boris Anikin on page 20 of the 1 April 2002 issue. Alexander Roife’s bibliography identifies Anikin as his pseudonym. The obituary’s text was unavailable; its contents cannot be described beyond the title and publication details. Alexander Roife bibliography; Russian Wikipedia Roife bibliography.
L064Новые переводы. Linked by Lafferty.ru; likely Sergei Gontarev. The page was identified, but its text could not be examined.
L0657 ноября #литературные_юбилеи. 4 November 2024. A literary anniversary notice includes Raphael Aloysius Lafferty among writers born on 7 November. Only the indexed reference was available.
L068Linked small-edition publishing notice. Sobolev links this small-edition publishing notice in the author discussion. The page was unavailable; its full title and contents could not be checked.
L071Исчезатель: информация о фильме. A film-information page for the 1987 adaptation. The indexed record identifies Lafferty; full text unavailable.
L072Видеоотзыв. SergeyProjektPo · 22 April 2022. A LiveLib post embeds a video review lasting 14 minutes 8 seconds and gives the collection 4.5/5. It includes no accompanying prose analysis. The page was examined; the recording has not been assessed. Шикарный Лафферти. Дни полные любви и смерти.
L073Книга «Дни, полные любви и смерти» : Рафаэль Лафферти. 9 December 2021. A reader review of the collection. The indexed excerpt praises the stories’ originality, the accompanying introductions by established writers and the quality of the edition. Full text unavailable.
L074Аудиокнига «Прожорливая красотка» : Рафаэль Лафферти. 15 February 2023. An audiobook review rated 5/5. The indexed excerpt describes the story as science fiction with substantial irony. Full text unavailable.
The 256 title forms below include 10 novels and 201 stories, along with collection and essay titles. They are attested in the translation and edition records consulted. Several works have more than one Russian title. Many translations circulated through fan editions; inclusion does not imply commercial publication. A Russian rendering supplied only as an explanation of an untranslated English title is not treated as a published translation.
Imprint dates and actual publication dates are distinguished where the catalogue records a discrepancy. Collections assembled in Russian may have no single English counterpart. The English titles identify the works; they are not literal translations of the Russian headings.
Novels
Russian title
English original
Translation or edition
Анналы Клепсиса
Annals of Klepsis
Translator: Нияз Абдуллин. Translation bibliography date: 2021. 2022 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 5-192. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
Крестинвин
Arrive at Easterwine: The Autobiography of a Ktistec Machine as Conveyed to R. A. Lafferty
Short title on the Russian fan volume and site gallery; translator Нияз Абдуллин. Longer catalogue title: Крестинвин, или История брожения и достижения. Record
Крестинвин, или История брожения и достижения
Arrive at Easterwine: The Autobiography of a Ktistec Machine as Conveyed to R. A. Lafferty
Translator: Нияз Абдуллин. Translation bibliography date: 2008. 2016 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 5-202. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
Четвертая обитель
Fourth Mansions
Александр Грузберг; translator record begins 2013; fan editions. Record
Не считая верблюдов
Not to Mention Camels
Translator: Нияз Абдуллин. Translation bibliography date: 2017. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 5-169. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
Владыка из прошлого
Past Master
В. Лиценатский; 2006/2015 fan editions; title changes are documented. Record
А. Грузберг, 2013; fan edition; distinct from Лиценатский translation. Record
13-е путешествие
Sindbad: The 13th Voyage
Short title in the Russian fan-book gallery. The translator bibliography and later omnibus use Тринадцатое путешествие Синдбада; translator Нияз Абдуллин. Record
Тринадцатое путешествие Синдбада
Sindbad: The 13th Voyage
Translator: Нияз Абдуллин. Translation bibliography date: 2022. 2022 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 193-354. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
Космические саги
Space Chantey
Марина Дмитриевна Литвинова; Russian fan editions 2007 and 2015. Record
Дьявол мёртв
The Devil Is Dead
Translator: Мария Александровна Литвинова. Translation bibliography date: 2021. 2024 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 5-209. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
Эллиптическая могила
The Elliptical Grave
Translator: Нияз Абдуллин. Translation bibliography date: 2020. Reprinted in the 2024 Полдень XXII fan omnibus, pp. 211–368, with imprint year 2115. Classified as a novel by FantLab; Архив фантастики places it among collections. Record
Рифы Земли
The Reefs of Earth
Марина Дмитриевна Литвинова; Russian fan editions 2007 and 2015. Record
Collections
Russian title
English original
Translation or edition
У кого-нибудь есть что добавить?
Does Anyone Else Have Something Further to Add?
English 1974 collection in Russian fan editions 2011/2016; latter includes another collection. Record
Золотые ворота
Golden Gate and Other Stories
FantLab identifies the English collection as the source. The 2016 Russian fan omnibus expands the original booklet with additional stories. Record
Железные слезы
Iron Tears
Collection correspondence recorded by FantLab; Russian fan volume illustrated at lafferty.ru/books/z16.html. Contents may vary between editions. Record
Девятьсот бабушек
Nine Hundred Grandmothers
Collection first published in English in 1970. The Заря fan edition appeared in 2014 with imprint year 2005. Distinct from the story of the same title. Record
Странные дела
Strange Doings
Fan edition actual 2014, imprint 2006; core 1972 collection plus additional stories. Record
Дни, полные любви и смерти
The Best of R. A. Lafferty
Commercial Russian edition, Азбука / Азбука-Аттикус, 2021. Translates Jonathan Strahan’s 2019 collection, including 22 stories and contextual commentary. Record
Владыка из прошлого. Космические саги. Рифы Земли
Russian selection or omnibus; see edition note
Russian fan omnibus, 2015, volume 1. Combines Past Master, Space Chantey and The Reefs of Earth. No single English omnibus counterpart verified. Record
Воскресная колонка
Russian selection or omnibus; see edition note
Russian fan selection actual 2018, imprint 2014; named after Magazine Section. No single English collection counterpart verified. Record
Девятьсот бабушек. Странные дела
Russian selection or omnibus; see edition note
Russian fan omnibus, 2015, volume 2. Combines Nine Hundred Grandmothers and Strange Doings; separate story titles recur within these collections. Record
2024 Russian fan omnibus, 15 copies. Catalogue heading says гром-жнеца but contents correctly say гром-жеребца. Contains The Devil Is Dead, The Elliptical Grave, From the Thunder Colt's Mouth, Anamnesis. Record
Институт Неточных Наук
Russian selection or omnibus; see edition note
2016 Russian fan omnibus combining Arrive at Easterwine with Institute for Impure Science stories; no single English collection counterpart. Record
Лучшее
Russian selection or omnibus; see edition note
Russian fan selection, Заря; catalogue imprint year 2016, 468 pages, 20 copies. Actual release date unverified. A separate selection from The Best of R. A. Lafferty (2019). Kotbeber’s 2024 notice reports 467 pages. Record
Мелководье времени
Russian selection or omnibus; see edition note
Russian fan selection actual 2019, imprint 2014, 20 copies; named after Bank and Shoal of Time. No single English collection counterpart verified. Record
Планета Камирои
Russian selection or omnibus; see edition note
Russian selection dated 2004 at work level; the linked 2008 physical edition is samizdat. No single English collection counterpart. The title story is Polity and Custom of the Camiroi. Record
Погребенное в периодике
Russian selection or omnibus; see edition note
2018 Russian fan selection of magazine/anthology stories; no single English collection counterpart verified. Record
Погребенное в периодике. Из архива писателя
Russian selection or omnibus; see edition note
2019 Russian fan selection, volume 9; no single English collection counterpart verified. Record
У кого-нибудь есть что добавить? Золотые ворота
Russian selection or omnibus; see edition note
Russian fan omnibus, 2016, volume 3. Combines two collections; the second section expands the English Golden Gate booklet. Imprint reads 2115. Record
Утро великого дня
Russian selection or omnibus; see edition note
Russian fan selection; actual June 2018, imprint 2014, 30 copies; named after Great Day in the Morning. No single English collection counterpart verified. Record
Ухо спящей собаки
Russian selection or omnibus; see edition note
Russian fan selection with imprint year 2014; actual release date unverified. No single English collection counterpart. Title story: Hound Dog’s Ear. Record
Stories
Russian title
English original
Translation or edition
“Особые условия в Саммит-Сити”
“A Special Condition in Summit City”
Translator: Сергей Гонтарев. Translation bibliography date: 2006. 2018 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 83-94. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“О тайном крокодиле”
“About a Secret Crocodile”
Translator: Сергей Гонтарев. Translation bibliography date: 2011. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 7-20. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Было у Адама три брата”
“Adam Had Three Brothers”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2011. 2016 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 135-145. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Да здравствует кит!”
“Ahoy the Whale”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 88-109. Record
“Все кроме слов”
“All But the Words”
Translator: Сергей Гонтарев. Translation bibliography date: 2014. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 112-126. Record
“Все, кроме слов”
“All But the Words”
2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 254-265. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Сами вы пустотелые”
“All Hollow Though You Be”
Translator: Сергей Гонтарев. Translation bibliography date: 2007. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 266-277. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Все фрагменты речного берега”
“All Pieces of a River Shore”
Если 2000 no. 10, pp. 73-88; Валентина Кулагина-Ярцева. 2018 edition, Полдень XXII, samizdat; translator В. Кулагина-Ярцева; pp. 54-70. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Все люди Земли”
“All the People”
Translator: Сергей Гонтарев. Translation bibliography date: 2013. Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator С. Гонтарев; pp. 119-133. Record
“У разлома Сан Пеннатус”
“Along the San Pennatus Fault”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 118-135. Record
“Алоиз”
“Aloys”
Translator: Сергей Гонтарев. Translation bibliography date: 2014. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 211-222. Record
“Среди лохматых землян”
“Among the Hairy Earthmen”
Translator: Сергей Гонтарев. Translation bibliography date: 2021. 2022 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 375-387. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Анамнез”
“Anamnesis”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 86-104. 2024 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 431-446. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Набухли рыбой небеса”
“And All the Skies Are Full of Fish”
Translator: Нияз Абдуллин. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator Н. Абдуллин; pp. 357-372. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 389-400. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Безумные медведи не будут танцевать”
“And Mad Undancing Bears”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 162-181. 2018 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 157-172. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Назови мое имя”
“And Name My Name”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2021. 2022 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 387-400. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“И плоть прочтите между строк”
“And Read the Flesh Between the Lines”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 191-209. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Кто это в бархатных одеждах”
“And Some in Velvet Gowns”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2021. 2022 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 430-439. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Пройти сквозь огонь”
“And Walk Now Gently Through the Fire”
2018 edition, Полдень XXII, samizdat; translator М. Литвинова; pp. 94-126. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Зверинец”
“Animal Fair”
Translator: Нияз Абдуллин. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator Н. Абдуллин; pp. 303-334. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 340-363. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Мелководье времени”
“Bank and Shoal of Time”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 3-37. Record
“У Барнаби есть часики”
“Barnaby's Clock”
Translator: Нияз Абдуллин. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator Н. Абдуллин; pp. 283-303. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 324-340. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Однажды долго-долго”
“Been a Long, Long Time”
Translator: Сергей Гонтарев. Translation bibliography date: 2008. 2022 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 449-456. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Крылатое наследие”
“Bequest of Wings”
Translator: Нияз Абдуллин. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 351-360. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Беррихилл”
“Berryhill”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2017. Record
“Птицевод”
“Bird-Master”
Translator: Нияз Абдуллин. Translation bibliography date: 2007. 2016 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 335-351. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Бумеровы Отмели”
“Boomer Flats”
2021 edition, Азбука / Азбука-Аттикус, commercial; translator М. Литвинова; pp. 391-412. 2016 edition, Полдень XXII, samizdat; translator М. Литвинова; pp. 53-69. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Сезон кипящего разума”
“Brain Fever Season”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 169-192. 2019 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 283-301. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Судный день сутяги”
“Bridlegoose”
Translator: Сергей Гонтарев. Translation bibliography date: 2011. Record
“Бесконечный поток звонких монет”
“Bright Coins in Never-Ending Stream”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator Н. Абдуллин; pp. 300-308. 2018 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 369-375. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Пути огня”
“Bright Flightways”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 209-221. 2018 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 409-419. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Пузыри, когда они лопаются”
“Bubbles When They Burst”
Translator: Сергей Гонтарев. Translation bibliography date: 2007. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 245-254. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Ведра, полные мозгов”
“Buckets Full of Brains”
Translator: Сергей Гонтарев. Translation bibliography date: 2007. Record
“На берегу морском”
“By the Seashore”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2017. Record
“Кабрито”
“Cabrito”
Translator: Сергей Гонтарев. Translation bibliography date: 2007. Record
“Верблюды и дромадеры, Клем”
“Camels and Dromedaries, Clem”
Translator: Сергей Гонтарев. Translation bibliography date: 2014. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 27-42. Record
“Хохочущая скала”
“Cliffs That Laughed”
2021 edition, Азбука / Азбука-Аттикус, commercial; translator М. Лахути; pp. 356-372. Record
“Клуб "Ментирос"”
“Club Mentiros”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Record
“Сообщество святых”
“Communion of Saints”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 77-88. Record
“Статуя Кондильяка”
“Condillac's Statue”
Translator: Сергей Гонтарев. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 228-239. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Конфигурация северного берега”
“Configuration of the North Shore”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2016. 2018 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 30-44. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Продолжение на следующем камне”
“Continued on Next Rock”
Translator: Сергей Гонтарев. Translation bibliography date: 2014. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 43-74. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator С. Гонтарев; pp. 295-327. Record
“Крокодил”
“Crocodile”
Translator: Сергей Гонтарев. Translation bibliography date: 2007. Record
“Дни травы, дни соломы”
“Days of Grass, Days of Straw”
2021 edition, Азбука / Азбука-Аттикус, commercial; translator М. Литвинова; pp. 512-538. 2016 edition, Полдень XXII, samizdat; translator М. Литвинова; pp. 319-337. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Дорг”
“Dorg”
Translator: Сергей Гонтарев. Translation bibliography date: 2007. 2022 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 364-375. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Сон”
“Dream”
Translator: Сергей Гонтарев. Translation bibliography date: 2001. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 182-191. Record
“Под слоем многовековой кожи”
“Encased in Ancient Rind”
Translator: Сергей Гонтарев. Translation bibliography date: 2014. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 239-258. Record
“Конец пути”
“End of the Line”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 212-229. Record
“Исчезающий вид”
“Endangered Species”
Translator: Сергей Гонтарев. Translation bibliography date: 2014. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 293-310. 2018 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 193-206. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Ох уж мне эти ребята”
“Enfants Terribles”
Сельская молодежь 1974 no. 10; Н. Колпаков. Reprinted Смерть в особняке (Республика, 1991), pp. 339-354. Record
“Из чистого сплошного хризолита”
“Entire and Perfect Chrysolite”
Fan edition: Странные дела, Заря, 2014 (printed 2006); translator А. Минаев; pp. 223-238. Record
“Вначале был костыль”
“Eurema's Dam”
Если 1993 no. 8, pp. 69-73; Любовь Паперина. 2016 edition, Полдень XXII, samizdat; translator Л. Паперина; pp. 308-319. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Двойник”
“Eurema's Dam”
Костёр 1991 no. 10, pp. 16-17; К. Васильев. Record
“Матушка Эвремы”
“Eurema's Dam”
2021 edition, Азбука / Азбука-Аттикус, commercial; translator М. Лахути; pp. 205-220. Record
“Овечка”
“Ewe Lamb”
Translator: Сергей Гонтарев. Translation bibliography date: 2007. Record
“Камушки”
“Fall of Pebble-Stones”
2016 edition, Полдень XXII, samizdat; translator А. Минаев; pp. 360-369. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Пылающие утки и великанский хлеб”
“Flaming Ducks and Giant Bread”
Translator: Нияз Абдуллин. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 311-335. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Пылающая стрела”
“Flaming-Arrow”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 54-75. Record
“Бедолаги из чистилища”
“For All Poor Folks at Picketwire”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2021. 2022 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 401-417. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Лягушка на горе”
“Frog on the Mountain”
Translator: Сергей Гонтарев. Translation bibliography date: 2001. Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator С. Гонтарев; pp. 83-118. Record
“Зубы дареного гром-жеребца”
“From the Thunder Colt's Mouth”
Translator: Нияз Абдуллин. Translation bibliography date: 2023. 2024 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 369-430. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Хитропалые”
“Funnyfingers”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2016. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator М. А. Литвинова; pp. 461-478. Record
“Исчезновение”
“Get Off the World”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2011. Record
“Призрак кукурузохранилища”
“Ghost in the Corn Crib”
Translator: Сергей Гонтарев. Translation bibliography date: 2014. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 329-337. Record
“Джинни, окутанная солнцем”
“Ginny Wrapped in the Sun”
Translator: Сергей Гонтарев. Translation bibliography date: 2013. Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator С. Гонтарев; pp. 30-45. Record
“Девушка месяца”
“Girl of the Month”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 196-203. Record
“Золотые ворота”
“Golden Gate”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 181-196. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Золотой трабант”
“Golden Trabant”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2011. 2016 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 99-108. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Золотая рыбка”
“Goldfish”
Translator: Сергей Гонтарев. Translation bibliography date: 2008. Record
“Серый Призрак: реминисценция”
“Gray Ghost: A Reminiscence”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2017. Record
“Утро великого дня”
“Great Day in the Morning”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 5-35. 2018 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 280-303. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Большой белый баран”
“Great Green Goat”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Record
“Великий Том-простак, или Загадка сундуков из таможни в Кале”
“Great Tom Fool or the Conundrum of the Calais Customs House Coffers”
Translator: Нияз Абдуллин. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 351-371. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Когда застонут петли мира”
“Groaning Hinges of the World”
Translator: Нияз Абдуллин. Translation bibliography date: 2011. 2016 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 90-99. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Время гостей”
“Guesting Time”
Translator: Сергей Гонтарев. Translation bibliography date: 2001. Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator С. Гонтарев; pp. 356-366. Record
“Горсть огня”
“Handful of Fire”
Translator: Сергей Гонтарев. Translation bibliography date: 2011. Record
“Руки человека”
“Hands of the Man”
Translator: Сергей Гонтарев. Translation bibliography date: 2016. 2018 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 44-54. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Что стряслось в низине Чоски”
“Happening in Chosky Bottoms”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 132-161. Record
“Любить еще сильнее”
“Heart Grow Fonder”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. 2018 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 206-234. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Любить ещё сильнее”
“Heart Grow Fonder”
Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 253-289. Record
“Прожорливая красотка”
“Hog-Belly Honey”
Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator Р. Нудельман; pp. 273-285. Знание-сила 1974 no. 2, pp. 56-58; Рафаил Нудельман. Record
“Святая женщина”
“Holy Woman”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Record
“И рога на головах”
“Horns on Their Heads”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 211-232. Record
“Ухо спящей собаки”
“Hound Dog’s Ear”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Record
“Так и вернули остров”
“How They Gave It Back”
Translator: Нияз Абдуллин. Translation bibliography date: 2011. 2016 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 108-117. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Чьи это коровы?”
“I Don’t Care Who Keeps the Cows”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 136-156. Record
“Ифрит”
“Ifrit”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator Н. Абдуллин; pp. 315-327. Record
“Во глубине стекла”
“In Deepest Glass: An Informal History of Stained Glass Windows”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 37-53. Record
“Безлюдный переулок”
“In Our Block”
Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator А. Графов; pp. 264-272. Знание-сила 1986 no. 6, pp. 47-48; А. Графов. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator А. Графов; pp. 129-138. Record
“В кущах”
“In the Garden”
Translator: Нияз Абдуллин. Translation bibliography date: 2011. 2016 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 81-90. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“В дубраве”
“In the Turpentine Trees”
Translator: А. Питчер. FantLab lists a 2007 Russian edition under samizdat and fanzines. Record
“"Великая междугородняя"”
“Interurban Queen”
Translator: Сергей Гонтарев. Translation bibliography date: 2001. Record
“Великая междугородняя”
“Interurban Queen”
Миры/Worlds (Алма-Ата), 1993 no. 2, pp. 203-211; А. Воеводин. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator С. Гонтарев; pp. 89-102. Record
“Блистательные новые идеи”
“Inventions Bright and New”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 119-132. Record
“Степной Измаил”
“Ishmael Into the Barrens”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 267-308. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Земля больших лошадей”
“Land of the Great Horses”
Translator: Сергей Гонтарев. Translation bibliography date: 2013. Мария Александровна Литвинова Translator: Мария Александровна Литвинова. Translation bibliography date: 2013. Сергей Гонтарев Record
“Край великих коней”
“Land of the Great Horses”
Опасные видения (Эксмо/Fanzon, 2025), pp. 665-674; Сергей Карпов. Record
“Страна больших лошадей”
“Land of the Great Horses”
Translator: Сергей Гонтарев. Translation bibliography date: 2013. Мария Александровна Литвинова Translator: Мария Александровна Литвинова. Translation bibliography date: 2013. Сергей Гонтарев Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator С. Гонтарева , М. А. Литвиновой; pp. 19-29. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator С. Гонтарева , М. А. Литвиновой; pp. 187-196. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарева , М. А. Литвиновой; pp. 371-379. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Кто смеется последним”
“Last Laugh”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 161-174. Record
“Ле Хот Спорт”
“Le Hot Sport”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2017. Record
“Лорд Торпеда - Лорд Гироскоп”
“Lord Torpedo, Lord Gyroscope”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. Record
“Любовь к тысячам родников”
“Love Affair With Ten Thousand Springs”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 64-89. 2018 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 319-339. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Сердитый человек”
“Mad Man”
Translator: Сергей Гонтарев. Translation bibliography date: 2001. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 20-30. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Воскресная колонка”
“Magazine Section”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator Н. Абдуллин; pp. 5-20. Record
“Разуйте глаза”
“Make Sure the Eyes Are Big Enough”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 338-351. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Марсилия”
“Marsilia V”
Translator: Нияз Абдуллин. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 370-384. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Можбыть Джонс и его город”
“Maybe Jones and the City”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2011. 2016 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 117-126. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Чудеса и диковины Макгрудера”
“McGruder's Marvels”
Translator: Сергей Гонтарев. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 245-255. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Мистер Гамадрил”
“Mr. Hamadryad”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 196-217. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Мутно-фиолетовый”
“Mud Violet”
Translator: Нияз Абдуллин. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator Н. Абдуллин; pp. 254-282. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 303-324. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Имя змея”
“Name of the Snake”
Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator Е. Лисичкина; pp. 213-226. Record
“Узкая долина”
“Narrow Valley”
Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator М. Литвинова; pp. 227-246. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator М. Литвинова; pp. 43-62. Record
“Новые люди”
“New People”
Translator: Сергей Гонтарев. Translation bibliography date: 2008. Record
“Девять сотен бабушек”
“Nine Hundred Grandmothers”
Translator: Сергей Гонтарев. Translation bibliography date: 1992. Не только мертвые (Алма-Ата:Дэуiр;Омск, 1992), pp. 283-297; Сергей Гонтарев. Record
“Девятьсот бабушек”
“Nine Hundred Grandmothers”
Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator С. Гонтарев; pp. 5-18. Если 1994 no. 5-6, pp. 59-62; Валентина Кулагина-Ярцева. Distinct from the collection of the same title. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator В. Кулагина-Ярцева; pp. 164-177. Record
“И никаких известняковых островов”
“Nor Limestone Islands”
2016 edition, Полдень XXII, samizdat; translator А. Грузберг; pp. 30-41. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Ни острова из камней в небесах”
“Nor Limestone Islands”
2021 edition, Азбука / Азбука-Аттикус, commercial; translator М. Лахути; pp. 68-84. Record
“Языки без костей”
“Oh Happy Double Jointed Tongues”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 202-210. Record
“Скажи, молю, что к нам придет мороз”
“Oh Tell Me Will It Freeze Tonight”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 262-282. 2018 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 303-319. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Что делать, когда источник иссяк?”
“Oh Whatta You Do When the Well Runs Dry?”
Translator: Сергей Гонтарев. Translation bibliography date: 2021. 2022 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 417-430. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Старая забытая ножка”
“Old Foot Forgot”
Translator: Сергей Гонтарев. Translation bibliography date: 2007. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator С. Гонтарев; pp. 417-432. Record
“Хэллоуин по старинке на склонах Гуны”
“Old Halloweens on the Guna Slopes”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 271-283. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Однажды на Аранеа”
“Once on Aranea”
Translator: Сергей Гонтарев. Translation bibliography date: 2001. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 75-89. Record
“Одним днем”
“One at a Time”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Record
“Раз по разу”
“One at a Time”
Альфа-1 (Бук Чембэр Интернэшнл, 1990), pp. 83-92; Н. Трегубенко. Record
“За минуту до”
“One Minute Before”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 174-181. Record
“Одноглазый пересмешник”
“One-Eyed Mocking-Bird”
2016 edition, Полдень XXII, samizdat; translator Н. Минакеева; pp. 384-393. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Утки нового дня”
“Or Little Ducks Each Day”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2017. Record
“Животное другого типа”
“Other Kind of Animal”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 229-241. Record
“Пампония”
“Pamponia”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 203-212. Record
“Паническое бегство”
“Panic Flight”
Translator: Нияз Абдуллин. Translation bibliography date: 2007. Record
“Партен”
“Parthen”
Translator: Сергей Гонтарев. Translation bibliography date: 2008. 2022 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 357-363. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Свинья в тюряге”
“Pig in a Pokey”
Translator: Сергей Гонтарев. Translation bibliography date: 2001. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 145-153. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Планета Камирои”
“Polity and Custom of the Camiroi”
Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator М. Комаровский; pp. 247-263. Если 1995 no. 1, pp. 29-34; Михаил Комаровский. Distinct from the Russian selection of the same title. Record
“Начальное обучение камиройцев”
“Primary Education of the Camiroi”
2021 edition, Азбука / Азбука-Аттикус, commercial; translator М. Лахути; pp. 272-290. Record
“Школа на Камирои”
“Primary Education of the Camiroi”
МЕГА (Минск), 1998 no. 1, pp. 14-18; Константин Михайлов. Subtitle: Выдержки из объединенного доклада учительско-родительскому комитету (УРК) г.Дюбюка. Record
“"Пытливый" рвет когти”
“Quiz Ship Loose”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. 2018 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 388-409. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“«Пытливый» рвет когти”
“Quiz Ship Loose”
Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator Н. Абдуллин; pp. 90-116. Record
“Главное открытие Рейнбёрда”
“Rainbird”
Если 1997 no. 1, pp. 31-44; Константин Михайлов. Record
“Дождливый день в Галикарнасе”
“Rainy Day in Halicarnassus”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 105-117. Record
“Звяк-бряк-калуф”
“Rang Dang Kaloof”
Translator: Сергей Гонтарев. Translation bibliography date: 2007. Record
“Прокатись в жестянке”
“Ride a Tin Can”
МЕГА (Минск), 1998 no. 1, pp. 8-13; Александр Грузберг. Record
“Прокатись в консервной банке”
“Ride a Tin Can”
Translator: Сергей Гонтарев. Translation bibliography date: 2021. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator И. Телегина; pp. 192- 210. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator С. Гонтарев; pp. 143-160. Record
“Реки Дамаска”
“Rivers of Damascus”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 247-271. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Королевская лакрица”
“Royal Licorice”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator Н. Абдуллин; pp. 135-161. 2018 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 172-192. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Пост попирателя”
“Scorner's Seat”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator Н. Абдуллин; pp. 182-208. 2018 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 126-147. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Лунные призраки 1870-х”
“Selenium Ghosts of the Eighteen Seventies”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator М. А. Литвинова; pp. 225-266. Record
“Семь снов”
“Seven Story Dream”
2016 edition, Полдень XXII, samizdat; translator А. Минаев; pp. 126-135. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“7 страшных дней”
“Seven-Day Terror”
Юный техник 1965 no. 8, pp. 51-54; Инна Бернштейн; author printed Р. А. Лэфферти. Earliest Russian publication found. Record
“Неделя ужасов”
“Seven-Day Terror”
31 июня (Мир, 1968), pp. 71-79; Раиса Померанцева. Record
“Семидневный кошмар”
“Seven-Day Terror”
Рассказы не для нервных, Boston-89 Publishing Co, 1989, pp. 50-57; translator not given. Record
“Семь дней ужаса”
“Seven-Day Terror”
Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator И. Почиталин; pp. 286-295. Антология сказочной фантастики (Молодая гвардия, 1971), pp. 355-363; Игорь Почиталин. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator И. Почиталин; pp. 377-386. Record
“Семь страшных дней”
“Seven-Day Terror”
Юный техник 1965 no. 8 contents form; Сельская молодежь 1965 no. 9, pp. 21-22, Инна Бернштейн. Record
“Небо”
“Sky”
Translator: Сергей Гонтарев. Translation bibliography date: 2001. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator С. Гонтарев; pp. 335-350. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 393-405. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Скользкая история”
“Slippery”
Translator: Сергей Гонтарев. Translation bibliography date: 2007. 2019 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 401-410. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
Фата-Моргана 3 (Флокс, 1992), pp. 412-418; И. Невструев. Record
“Тихая ночь со вторника на среду”
“Slow Tuesday Night”
2021 edition, Азбука / Азбука-Аттикус, commercial; translator М. Лахути; pp. 28-38. Record
“Смо и одушевлённая глина”
“Smoe and the Implicit Clay”
Translator: Нияз Абдуллин. Translation bibliography date: 2007. 2016 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 290-311. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Скрюченный домишко”
“Snake Cabin”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 182-196. Record
“Хрипун”
“Snuffles”
Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator М. Литвинова; pp. 164-196. Record
“Содом и Гоморра, штат Техас”
“Sodom and Gomorrah, Texas”
Translator: Сергей Гонтарев. Translation bibliography date: 2001. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 90-100. Record
“Чудно и пышно”
“Something Rich and Strange”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 68-85. Record
“Щепки”
“Splinters”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator Н. Абдуллин; pp. 283-299. 2018 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 376-388. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Квадрат и честная сделка”
“Square and Above Board”
Translator: Сергей Гонтарев. Translation bibliography date: 2014. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 311-328. Record
“Канун дня святого Полеандра”
“St. Poleander's Eve”
Translator: Нияз Абдуллин. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator Н. Абдуллин; pp. 334-357. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 363-380. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Симпозиум”
“Symposium”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator Н. Абдуллин; pp. 328-338. 2018 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 147-155. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Вместивший все”
“The All-At-Once Man”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 173-190. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Покорители скалы”
“The Cliff Climbers”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 239-244. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Высоконаучные двери”
“The Doggone Highly Scientific Door”
Translator: Сергей Гонтарев. Translation bibliography date: 2022. 2022 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 440-448. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Шнурки короля”
“The Emperor’s Shoestrings”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 290-314. Record
“Реверсия”
“The End of Outward”
Translator: Нияз Абдуллин. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 277-289. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Сорок седьмой остров”
“The Forty-Seventh Island”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 36-63. 2018 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 428-450. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Забавное лицо убийства”
“The Funny Face Murders”
Translator: Нияз Абдуллин. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator Н. Абдуллин; pp. 389-427. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 423-451. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Стопалая рука”
“The Hand with One Hundred Fingers”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 222-243. 2018 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 339-356. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Чумовая ракета Гарри О'Донована”
“The Hellaceous Rocket of Harry O'Donovan”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 227-238. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Дыра на углу”
“The Hole on the Corner”
Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator Т. А. Перцева; pp. 296-312. Если 2002 no. 5, pp. 61-72; Татьяна Перцева. Record
“Последний астроном”
“The Last Astronomer”
Translator: Сергей Гонтарев. Translation bibliography date: 2008. Record
“Маленький к.”
“The Man Underneath”
Если 1992 no. 5, pp. 87-92; Евгений Диллендорф. 2016 edition, Полдень XXII, samizdat; translator Е. Диллендорф; pp. 41-53. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Человек, утративший магию”
“The Man Who Lost His Magic”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Record
“Человек, которого не было”
“The Man Who Never Was”
Translator: Сергей Гонтарев. Translation bibliography date: 2007. 2018 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 20-30. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Человек, который гулял по трещинам”
“The Man Who Walked Through Cracks”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 21-48. Record
“Человек с крапчатыми глазами”
“The Man with the Speckled Eyes”
Translator: Сергей Гонтарев. Translation bibliography date: 2014. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 101-111. Record
“Самая забытая история в мире”
“The Most Forgetable Story in the World”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2007. 2018 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 155-157. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Его единственная мелодия”
“The Only Tune That He Could Play”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 49-67. Record
“Планета Пани”
“The Pani Planet”
Translator: Сергей Гонтарев. Translation bibliography date: 2007. 2018 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 5-19. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Вежливые люди Пудибундии”
“The Polite People of Pudibundia”
Translator: Сергей Гонтарев. Translation bibliography date: 2007. Record
“Кольцо и жезл”
“The Rod and the Ring”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 339-351. 2018 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 419-428. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Спасительная благодать”
“The Saving Grace”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 352-360. Record
“Шесть пальцев времени”
“The Six Fingers of Time”
Translator: Сергей Гонтарев. Translation bibliography date: 2001. Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator С. Гонтарев; pp. 46-82. Record
“Тощие люди с Лептофлебо-стрит”
“The Skinny People of Leptophlebo Street”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator Н. Абдуллин; pp. 309-327. 2018 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 265-280. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“История спящей красавицы”
“The Story of Little Briar-Rose, A Scholarly Study”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 193-201. Record
“Трансцендентальные тигры”
“The Transcendent Tigers”
Translator: Сергей Гонтарев. Translation bibliography date: 2001. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 127-140. Record
“Двуглавый лев Криса Бенедетти”
“The Two-Headed Dragon of Chris Benedetti”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 218-226. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Гадкое море”
“The Ugly Sea”
Translator: Сергей Гонтарев. Translation bibliography date: 2014. Fan edition: Странные дела, Заря, 2014 (printed 2006); translator С. Гонтарев; pp. 259-275. Record
“Совершенное создание”
“The Ultimate Creature”
Translator: Сергей Гонтарев. Translation bibliography date: 2011. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 170-178. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Богопротивные мыши доктора Дракоса”
“The Ungodly Mice of Doctor Drakos”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 209-218. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Преодоление”
“The Vanquished”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 361-366. Record
“Роковая планета”
“The Weirdest World”
Translator: Сергей Гонтарев. Translation bibliography date: 2001. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 154-170. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Непонятный мир Барнаби Шина”
“The Wooly World of Barnaby Sheen”
Translator: Сергей Гонтарев. Translation bibliography date: 2018. Fan edition: Воскресная колонка, Заря, 2018 (printed 2014); translator С. Гонтарев; pp. 157-168. 2019 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 238-247. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Воля мира и обои”
“The World as Will and Wallpaper”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2016. Record
“Мир как воля и обои”
“The World as Will and Wallpaper”
2021 edition, Азбука / Азбука-Аттикус, commercial; translator М. А. Литвинова; pp. 438-456. Record
“Есть у меня другое я”
“There'll Always Be Another Me”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 367-377. Record
“Планета Медведей-Воришек”
“Thieving Bear Planet”
Если 1997 no. 8, pp. 217-231; Валентина Кулагина-Ярцева. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator В. Кулагина-Ярцева; pp. 484-506. Record
“Знаменующий зуд”
“This Boding Itch”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 217-227. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“И эту тушу тоже”
“This Grand Carcass Yet”
Translator: Сергей Гонтарев. Translation bibliography date: 2011. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 69-81. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“О эти белёные стены”
“Thou Whited Wall”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 117-134. 2018 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 356-369. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Тысяча за арбуз”
“Thousand Dollar Melon”
Translator: Нияз Абдуллин. Translation bibliography date: 2016. Record
“Трое для ссоры”
“Three for a Quarrel”
Translator: Сергей Гонтарев. Translation bibliography date: 2011. Record
“Три тени волка”
“Three Shadows of the Wolf”
Translator: Сергей Гонтарев. Translation bibliography date: 2008. 2018 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 234-265. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Чужими глазами”
“Through Other Eyes”
Translator: Сергей Гонтарев. Translation bibliography date: 2013. Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator С. Гонтарев; pp. 329-345. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 218-232. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Как мы сорвали планы Карла Великого”
“Thus We Frustrate Charlemagne”
Translator: Сергей Гонтарев. Translation bibliography date: 2013. Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator С. Гонтарев; pp. 197-212. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator С. Гонтарев; pp. 108-124. 2016 edition, Полдень XXII, samizdat; translator С. Гонтарев; pp. 205-218. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Языки Матагорды”
“Tongues of the Matagorda”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2016. 2016 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 255-267. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Постарайся запомнить”
“Try to Remember”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2017. Record
“Два по цене одного”
“Two for Four Ninety-Nine”
Translator: Нияз Абдуллин. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator Н. Абдуллин; pp. 372-389. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 410-422. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Динозавровы слезищи”
“What Big Tears the Dinosaur's”
Translator: Нияз Абдуллин. Translation bibliography date: 2018. 2019 edition, Полдень XXII, samizdat; translator Н. Абдуллин; pp. 381-389. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Как назывался этот город?”
“What's the Name of That Town?”
Fan edition: Девятьсот бабушек, Заря, 2014 (printed 2005); translator М. Литвинова; pp. 313-328. 2016 edition, Полдень XXII, samizdat; translator М. Литвинова; pp. 232-245. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Когда все земли изольются вновь”
“When All the Lands Pour Out Again”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2018. Fan edition: Утро великого дня, Заря, 2018 (printed 2014); translator М. А. Литвинова; pp. 244-261. 2018 edition, Полдень XXII, samizdat; translator М. А. Литвинова; pp. 70-83. Imprint: 2115; the edition year above is the actual date recorded by FantLab. Record
“Возвращение Уиттла”
“Whittle Come Back”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Fan edition: Мелководье времени, Заря, 2019 (printed 2014); translator М. А. Литвинова; pp. 242-253. Record
“Мир изобилия”
“World Abounding”
Fan edition: Странные дела, Заря, 2014 (printed 2006); translator А. А. Лотарев; pp. 141-181. Record
“Нельзя вернуться назад”
“You Can’t Go Back”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2014. Record
Essays and prefaces
Russian title
English original
Translation or edition
“Послесловие”
“Afterword (Land of the Great Horses)”
Опасные видения (Эксмо/Fanzon, 2025), pp. 675-676; Сергей Карпов. Record
“Как я написал «Продолжение на следующем камне»”
“How I Wrote 'Continued on Next Rock': An Afterword”
Translator: Мария Александровна Литвинова. Translation bibliography date: 2019. 2021 edition, Азбука / Азбука-Аттикус, commercial; translator М. А. Литвинова; pp. 328-330. Record
Scope and source notes
The search covered Russian spellings of Lafferty’s name and titles, literary and science fiction magazines, publisher archives, LiveJournal and other blogs, FantLab, LiveLib, reader forums, library and book records, and references found within those sources. Automatically translated English pages and unrelated people with the same surname were excluded. The geographical scope follows the language, including Russian-language material published outside Russia.
The annotations summarize arguments in English. They distinguish original criticism from translated essays, publisher notices, excerpts, and fiction reposts. A catalogue entry establishes a record; it does not establish that an inaccessible text was read. Video and film listings are marked when only their descriptions were examined. Grouped reader reviews count as one annotated entry, with their individual links retained where available.
Original Russian headings are retained, including occasional errors in a source’s spelling of Lafferty’s name. English work titles follow the concordance. This guide cannot establish that every Russian-language post survives or has been indexed.
