Laura Gonzalez

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30 Jun 2013

Anthem by Ayn Rand *

Reading dates: 16 June 2013 – 29 June 2013

Well, I am not a Randian, just yet. I thought Anthem was poorly executed and that is my main issue with it. It is too idealistic; in fact, it is just an idea. But fiction can be a lot more than that. Where is the shiver down the spine? Not here. The story narrates the journey of a guy (Equality something or other) from we to I. The novella is in utter praise of the ego—Rand’s individualism is well known—but Lacan tells us that the ego is not to be trusted, is imaginary. You know by now which view I follow. The ego only works (and is interesting) in relation to the id and the super-ego. Yet, in Anthem, the super-ego gets rejected when Equality goes into the uncharted forrest—with the Golden One, of course, you need both gender to start a new civilisation. What kind of super-ego does not pursue the ego? All too neat, too imaginary, in the way High Rise descended into pure id. I am looking forward to reading something more balanced, showing the complexity of character I am after (and which I am reading, but you’ll have to wait for the review).

Posted in Blog, Book Reviews, Reading


4 Responses to “Anthem by Ayn Rand *”

  1. Tim Gray said:

    Oh Laura you need to reject the nonsense that Rand comes out with. Her concept of individualism is a poorly constructed analysis of the self which has little to do with any real understanding of ego and more to do with the development of classic economic theory. Which was designed to undermine Keynesian economics and undermine the continuation of the new deal in the US. Rand by the time of her death was totally discredited and has only been dragged out of the dustbin of history because her anti-community, capitalist superman ideas fit with the agenda of the republican party in the US. Its no surprise to see Neo Liberalist championing her or the idea of wealth creators being more important to society than the people they exploit and enslave. In the final analysis you can’t get away from the fact that her ideas are completely anti society which even she failed to live by.

  2. Laura Gonzalez said:

    I have not read enough Rand for form such an opinion but this has not made want to explore further. Life is too short, and my list of books too long. Any novels you would recommend?

    I have not forgotten about those photographs, Tim. It has just been absolutely mental for various reasons. Hope to get to send them before I go to Berlin, which is not that far away in time …

  3. Tim Gray said:

    Hi Laura, the deadline for us this end is the 15th July as we have a lot to sort out before the show opens. Is the work framed? and is it for sale?
    Whithorn love and best wishes Tim 🙂

  4. Laura Gonzalez said:

    Hi Tim, Yes, framed and for sale and hopefully on its way to you before the 15th July! x

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About Me

I am an artist and writer. My recent practice performance, film, dance, photography and text, and my work has been performed, exhibited and published in many venues in Europe and the US. I have spoken at numerous conferences and events, including the Museum for the Fashion Institute of Technology in New York, the Medical Museum in Copenhagen, College Arts Association and the Association for the Psychoanalysis of Culture and Society. When I am not following Freud, Lacan and Marx’s footsteps with my camera or creating performance works as part of my Athenaeum Research Fellowship at the Royal Conservatoire of Scotland, I teach postgraduate students at Transart Institute.

I am currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric. In 2013, together with Child and Adolescent Mental Health practitioner Frances Davies, I co-edited the book ‘Madness, Women and the Power of Art’, to which I contributed a work authored with Eleanor Bowen. My book ‘Make Me Yours: How Art Seduces’ was published by Cambridge Scholars in 2016. In this text, investigates psychoanalytic approaches to making and understanding objects of seduction, including an examination of parallels between artistic and analytic practices, a study of Manolo Blahnik’s shoes as objects of desire, a disturbing encounter with Marcel Duchamp’s last work, and the creation of a psychoanalytically inspired Discourse of the Artefact, a framework enabling the circulation of questions and answers through a relational approach to artworks.