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Ayn Rand in the Land of the Dinosaurs

Now that we know that the young Ayn Rand was a fan of Arthur Conan Doyle’s dinosaur novel The Lost World and used to play at being one of the pterodactyls from the book, it’s easy to see the likely influence on the following passage about Kira’s childhood from We the Living:

The Argounov summer residence stood on a high hill over a river, alone in its spacious gardens, on the outskirts of a fashionable summer resort. The house turned its back upon the river and faced the grounds where the hill sloped down gracefully into a garden of lawns drawn with a ruler, bushes clipped into archways and marble fountains made by famous artists.

The Lost World (1925 film)

The other side of the hill hung over the river like a mass of rock and earth disgorged by a volcano and frozen in its chaotic tangle. Rowing downstream, people expected a dinosaur to stretch its head out of the black caves overgrown with wild ferns, between trees that grew horizontally into the air, huge roots, like spiders, grasping the rocks.

For many summers, while her parents were visiting Nice, Biarritz and Vienna, Kira was left alone to spend her days in the wild freedom of the rocky hill, as its sole, undisputed sovereign in a torn blue skirt and a white shirt whose sleeves were always missing. The sharp sand cut her bare feet. She swung from rock to rock, grasping a tree branch, throwing her body into space, the blue skirt flaring like a parachute.

Jurassic Park raft ride

She made a raft of tree branches and, clutching a long pole, sailed down the river. There were many dangerous rocks and whirlpools on the way. The thrill of the struggle rose from her bare feet, that felt the stream pulsating under the frail raft, through her body tensed to meet the wind, the blue skirt beating against her legs like a sail. Branches bending over the river brushed her forehead. She swept past, leaving threads of hair entwined in the leaves, and the trees leaving wild red berries caught in her hair.

The first thing that Kira learned about life and the first thing that her elders learned, dismayed, about Kira, was the joy of being alone.

I wonder how many “people” other than Rand/Kira herself actually “expected a dinosaur to stretch its head out of the black caves overgrown with wild ferns.”

I still sometimes wish we could have the geeky teenage Rand with us today, to save her before she became the rigidified Objectivist Colossus.


How the U.S. Military Protects Our Freedom

When Worlds Collide

Science fiction and mystery author Philip Wylie sounds, from his Wikipedia page, like an interesting guy. His stories and novels (When Worlds Collide is the best known, and the only one I’ve read) have been credited with inspiring some of popular entertainment’s most famous characters – Superman, Flash Gordon, Doc Savage, and Travis McGee. He’s been both hailed as a feminist and condemned as a misogynist for his writings on women (I haven’t read the writings in question and so can’t render a verdict).

But my present concern is with the following rather alarming anecdote:

As early as 1939, [Wylie] had written a story about the Germans making plutonium bombs in a cave in Colorado. “The Paradise Crater,” written for American Magazine, was, as Sam Moskowitz points out, rejected as “too fantastic,” but later was accepted by Bluebook, which turned the magazine over to Washington for approval. When Washington balked, the editor of Bluebook returned the manuscript to Harold Ober, Wylie’s agent, who had “already been contacted by the CIA.” Wylie, who had been put under house arrest, was told by an aggressive major that he [the major] would take Wylie’s life if necessary, to plug the leak. Wylie agreed to tear up the manuscript. But the decision was made to hold back publication instead. According to Moskowitz, “Four months later, the Atom Bomb was dropped on Hiroshima and Bluebook asked to have the story back. It was published in the October, 1945 number.” Wylie, through his own research, had learned enough about atomic weaponry to become a security risk [John W. Campbell, Jr., editor of Astounding Science Fiction, went through a similar experience when one of his authors submitted a story featuring an atomic bomb].
(Clifford P. Bendau, Still Worlds Collide: Philip Wylie and the End of the American Dream, pp. 42-43; brackets in original. The reference to the CIA must be a mistake for the OSS.)


Way Long Gone, Part 3

I got back from my voyages on Monday (I announce belatedly).

Roger's Campground

PorcFest was anarchy in miniature: people were smoking weed, packing heat, selling unlicensed food and alcohol, and generally behaving in a peacefully unauthorised fashion. There were pistol safety classes, gay dance parties, and sessions on everything from polyamory, transhumanism, and cop avoidance to alternative currency, alternative medicine, and planning the revolution. C4SS, S4SS, ALL, AltExpo, Fr33 Agents, and SFL were all represented. In addition to my previously mentioned talks I was on a panel on agorism with Brad Spangler, Dan D’Amico, and Bob Murphy. If I go again next year I’ll bring some copies of Kevin’s Homebrew Industrial Revolution; PorcFest seems like the ideal crowd for it.

After that came the IHS seminar at Towson. The students were great, and I spent a lot of time talking with them about philosophy, libertarianism, and science fiction – which (as will come as no surprise to my readers) are three of my favourite subjects. One of the students was wearing a t-shirt with my picture on it! The topics of my lectures were approximately the same as last year. The other faculty were Dan D’Amico, Brian Doherty, John Hasnas, George Selgin, and Amy Sturgis, so it was an even more radical lineup than last year. We found a good Cuban restaurant; I also got a chance to see Jesse Walker, who lives nearby.

My next gig will be Mises University here in Auburn, July 24-30. And then of course there’s always the APS in September and Libertopia in October.


Fright Night

1. Ayn Rand’s play Night of January 16th is a dramatised trial with two endings, depending on whether the audience votes for the guilt or innocence of the protagonist, Karen Andre. As originally written, Andre when declared guilty announces:

Ladies and gentlemen, I thank you. You have spared me the trouble of committing suicide.

Night of January 16th

Toward the end of her life, Rand made some revisions to the play in connection with a revived stage performance. Most of the changes were apparently minor, but one was not: Andre’s last line, in the event of being found guilty, is now:

Ladies and gentlemen, I will not be here to serve the sentence. I have nothing to seek in your world.

And this is the ending that currently appears in Night of January 16th: The Final Revised Version and Ayn Rand: Three Plays.

I think this change is unfortunate; the original strikes me as more dramatic and poetic. Rand may have changed it to reflect the fact that under changes in New York law, Andre would no longer have been eligible for the death penalty. But if so, that’s an oddly naturalistic reason for the change, and the play doesn’t plausibly update to a more contemporary setting anyway.

But my real gripe is not just that Rand changed the ending, but that the original line is getting lost down a memory hole. Nowhere in the current published versions of the play is there any information as to what the original line was: not in a footnote or appendix or anything. This seems to be yet another case of the Rand estate’s mishandling of her writings.

2. I’ve never seen the entire movie version (1941) of Night of January 16th. I watched about ten minutes of it once and couldn’t keep my attention on it. Rand once wrote of the film:
Atlas

There is nothing of mine in that movie, except the names of some of the characters and the title (which was not mine). The only line of dialogue from my play which appears in the movie is: “The court will now adjourn till ten o’clock tomorrow morning.” The cheap, trashy vulgarity of that movie is such that no lengthier discussion is possible to me.

So I’m guessing she didn’t like it.

Judging from this synopsis, the movie’s connection with the original play is indeed tenuous. But what struck me in the synopsis is something I’ve never seen mentioned before: that a “statuette of Atlas supporting a globe” plays a crucial role in the film’s plot (which it certainly does not in the play). Given that Rand hadn’t started writing Atlas Shrugged at that time, it’s an intriguing connection.


An Ambiguous Dystopia

Under the Violet Sun

Going through old papers I find this gem from my Randian past: a very short sf story that I wrote in (but not for) college, titled “Under the Violet Sun.”

Some of my stories actually had plots (hopefully I’ll dig them up eventually). This one, not so much.


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