The Randian hero is not ‘phallocratic’—it is rather the figure of the failed Master (Wynand in The Fountainhead, Stadler in Atlas Shrugged) who is phallocratic: paradoxical as it may sound, the being of pure drive who emerges once the subject ‘goes through the fantasy’ and assumes the attitude of indifference towards the enigma of the Other’s desire, is a feminine figure. What Rand was not aware of was that the upright, uncompromising masculine figures with a will of steel, with whom she was so fascinated, are effectively figures of the feminine subject liberated from the deadlocks of hysteria. It is well known that a thwarted (disavowed) homosexual libidinal economy forms the basis of military community—it is for that very reason that the Army opposes so adamantly the admission of gays in its ranks. Mutatis mutandis, Rand’s ridiculously exaggerated adoration of strong male figures betrays an underlying disavowed lesbian economy, i.e., the fact that Dominique and Roark, or Dagny and Galt, are effectively lesbian couples. It is thus a thin, almost imperceptible line that separates Rand’s ideological and literary trash from the ultimate feminist insight.
But who can discern that even finer line between the lesbian libidinal economy and the Lacanian frontal lobotomy?