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in the way Kundera defined it as “kýč je absolutní popření hovna; v doslovném i přeneseném slova smys-lu”20, the latter was full-on vernacular, and from time to time even scatological. Thus, the words “ I don’t give a shit”, as well as a “they can go do one, those shits”, plus a “they are in deep shit” Lola must have uttered about three times each during the conversation, without hiding the fact that she enjoyed it so much that it was like she kept them on stand-by in order to in-sert them on purpose as soon as the opportunity arose. This was something that incidentally also applied to anything in her crosshairs, no matter how slightly or completely irrelevant they were to the context.

And what was in her crosshairs? Whatever belonged to the euphemistically-called – disjointed and topsy-turvy as it was – camp that we were previously talking about. Which whilst, like Ancient Greece in relation to Rome, had been overwhelmed on the battlefield, it triumphed – purportedly – at an ideological, aesthetic, moralistic and symbolic one, governing over consciences. The vilification and belittlement of Ayn Rand’s heritage, the distortion of who she was and what she wanted, was nothing but one of the epiphenomena of its domin-

20 “Kitsch is the absolute denial of shit, in both the literal and the figurative senses of the word” (Originally in Czech).