a certain amount of flexibility is required in order to become a good historian. this flexibility is particularly important because you will inevitably end up studying the one thing that you promised yourself you would not touch with a 10 foot pole. indeed, you should refrain from making these sorts of promises to yourself. the path to a ph.d. is replete with far more dramatic opportunities to let yourself down.ayn rand never quite fell into the category of refuse-to-read or refuse-to-study, but i certainly always assumed that i'd have little to no use for her books, given the absolute uselessness of the people i knew who really enjoyed rand.
i am now reading ayn rand. a lot of ayn rand. starting with anthem and working my way forward, i am currently nearing the end of the fountainhead. and i'm finding that i do have little use for rand's books, though not for the reasons i thought i would.
they are pure, unadulterated camp. sure, heavy-handed libertarian moralism infuses the actions, personalities, and personages of every character, but the overall tenor of the fountainhead is that of a politically-charged teen novel - full of melodrama and (forcibly) stolen kisses and clingy dresses and evil geniuses and love triangles.
a definition of camp would include something about an affectation or appreciation of manners and tastes commonly thought to be artificial, vulgar, or banal. this is a fairly broad definition. more specifically, the use of the word "camp" often indicates an appropriation of "high culture" (or what was previously regarded as "high culture") in pursuit of "low culture" ends. there is good camp and bad camp but, as susan sontag notes, the line is fine, and there is nothing worse than camp done poorly: "when something is just bad (rather than camp), it's often because it is too mediocre in its ambition. the artist hasn't attempted to do anything really outlandish."
camp often involves referencing - a signal that the author knows the history of his or her medium and is deliberately choosing to denigrate it, looking to induce either laughs or discomfort (and often both). sontag observes that "camp is a vision of the world in terms of style -- but a particular kind of style. it is the love of the exaggerated, the 'off,' of things-being-what-they-are-not." camp is a stylized form of exaggeration.
in this sense, rand is campy without recognizing the fact. she would hardly lower herself to acknowledging that she has learned anything useful from anyone, though her novels obviously model themselves somewhat on her beloved victor hugo, both in dark tenor and saga-like chapter layout. rand novels are supposed to be gothic novels for the modern (and i mean modern in the early twentieth century asceticist sense) reader.
unfortunately for rand and, perhaps, fortunate for her reader, the careful avoidance of reference or response actually serves to heighten the campiness of the fountainhead and its siblings. and this, i suspect, is what makes them so popular. without reference, one has a much harder time creating depth, and literary depth is the enemy of the uninformed and poorly read pupil. readers work their way up to joyce's ulysses. rand's books, by contrast, sit at the very bottom of the nuance pile. they are accessible in a way that few 700 page books are, and the sheer length of the novels, alongside rand's insistence that they are philosophical treatises, lends an academic aura to writing that would otherwise be considered extremely subpar.
i remember when i first discovered that books had subtexts. i was eight years old, lying in a motel bed en route to my grandmother's house in albany, ny. i was reading a wrinkle in time and, about 1/3 through, realized that the book was a critique of centralized authority, alongside a liberal religiosity. i remember this moment as sudden, ecstatic illumination, the sense that people kept telling me i was supposed to feel in church but never experienced. if you are aware that you are learning something, you can be actively exhilarated by the process and the fact.
i suspect that ayn rand functions in much the same way for the average reader. there is nothing challenging about her books and they feel vaguely taboo, independent, and - for those who misunderstand the term - intellectual. rand's subtexts and philosophical bent floats just under the surface, and the surface is made of saran wrap. you can see her points coming before they reach you, and her heavy-handed application of lessons is never mitigated by allusions to other writers or references to other philosophies. the historian in me is appalled at the lack of literary and ideological contextualization.but for many readers - and the ayn rand institute's subsidization of purchase of her novels for classroom use inflates their numbers - reading the fountainhead must be akin to my experience reading a wrinkle in time.
reading ayn rand does not necessarily a libertarian make. one must be predisposed through upbringing or rebellion against that upbringing to embrace her flat set of teachings. but the book's ability to spark a recognition of one's own intellectual capabilities is a powerful tool in the libertarian arsenal, because this approach produces incestuous, cult-like followings. reading madeleine l'engle was part of a continual process that i became aware of in a short moment in a bed that wasn't mine along i90. and i go back to it, reading it every year and finding something new to love each year. i have turned into a socialist feminist who does not believe in or trust institutionalized religion, but i reread this anti-authoritarian, nuclear family-oriented, and occasionally heavy-handed liberal catholic on a yearly basis, with wide-eyed, uncritical wonder.
every person cherishes the book that facilitated the recognition of their personal, individual intellect. i suspect that rand's popularity stems from her ability to spark that recognition. books don't have to be complicated or even well-written in order to play this role. sometimes - too often - nuance is the enemy of influence. and perhaps we should look more seriously at rand's demand that every philosopher be forced to encapsulate his or her philosophy in a work of fiction. the caveat, of course, being that the lessons lying under the storyline ought to be clearly visible through all those words.in other words, your book might garner a devoted readership with the inclusion of a little campiness.
as for me, in my post-eight-year-old life i prefer to stick with the resolutely difficult. a wrinkle in time is a benchmark rather than an endpoint. onwards into the abyss!
