Atlas Shrugged



The story of Atlas Shrugged dramatically expresses Rand's ethical egoism, her advocacy of "rational selfishness", whereby all of the principal virtues and vices are applications of the role of reason as man's basic tool of survival (or a failure to apply it): rationality, honesty, justice, independence, integrity, productiveness, and pride. Rand's characters often personify her view of the archetypes of various schools of philosophy for living and working in the world. Robert James Bidinotto wrote, "Rand rejected the literary convention that depth and plausibility demand characters who are naturalistic replicas of the kinds of people we meet in everyday life, uttering everyday dialogue and pursuing everyday values. But she also rejected the notion that characters should be symbolic rather than realistic."[26] and Rand herself stated, "My characters are never symbols, they are merely men in sharper focus than the audience can see with unaided sight. . . .  My characters are persons in whom certain human attributes are focused more sharply and consistently than in average human beings".[26]

In addition to the plot's more obvious statements about the significance of industrialists to society, and the sharp contrast to Marxism and the labor theory of value, this explicit conflict is used by Rand to draw wider philosophical conclusions, both implicit in the plot and via the characters' own statements. Atlas Shrugged caricatures fascism, socialism, communism, and any state intervention in society, as allowing poor people to "leech" the hard-earned wealth of the rich, and Rand contends that the outcome of any individual's life is purely a function of its ability, and that any individual could overcome adverse circumstances, given ability and intelligence.[28]

Sanction of the victim

The concept "sanction of the victim" is defined by Leonard Peikoff as "the willingness of the good to suffer at the hands of the evil, to accept the role of sacrificial victim for the 'sin' of creating values".[29] Accordingly, throughout Atlas Shrugged, numerous characters are frustrated by this sanction, as when Hank Rearden appears duty-bound to support his family, despite their hostility toward him; later, the principle is stated by Dan Conway: "I suppose somebody's got to be sacrificed. If it turned out to be me, I have no right to complain". John Galt further explains the principle: "Evil is impotent and has no power but that which we let it extort from us", and, "I saw that evil was impotent ... and the only weapon of its triumph was the willingness of the good to serve it".

Government and business

Rand's view of the ideal government is expressed by John Galt: "The political system we will build is contained in a single moral premise: no man may obtain any values from others by resorting to physical force", whereas "no rights can exist without the right to translate one's rights into reality — to think, to work and to keep the results — which means: the right of property".[30] Galt himself lives a life of laissez-faire capitalism.[31]

In the world of Atlas Shrugged, society stagnates when independent productive agencies are socially demonized for their accomplishments. This is in agreement with an excerpt from a 1964 interview with Playboy magazine, in which Rand states: "What we have today is not a capitalist society, but a mixed economy — that is, a mixture of freedom and controls, which, by the presently dominant trend, is moving toward dictatorship. The action in Atlas Shrugged takes place at a time when society has reached the stage of dictatorship. When and if this happens, that will be the time to go on strike, but not until then".[32]

Rand also depicts public choice theory, such that the language of altruism is used to pass legislation nominally in the public interest (e.g., the "Anti-Dog-Eat-Dog Rule", and "The Equalization of Opportunity Bill"), but more to the short-term benefit of special interests and government agencies.[33]

Property rights and individualism

"Run for your life from any man who tells you that money is evil. That sentence is the leper's bell of an approaching looter."[34]

— Francisco d'Anconia, Atlas Shrugged

Rand's heroes continually oppose "parasites", "looters", and "moochers" who demand the benefits of the heroes' labor. Edward Younkins describes Atlas Shrugged as "an apocalyptic vision of the last stages of conflict between two classes of humanity — the looters and the non-looters. The looters are proponents of high taxation, big labor, government ownership, government spending, government planning, regulation, and redistribution".[35]

"Looters" are Rand's depiction of bureaucrats and government officials, who confiscate others' earnings by the implicit threat of force ("at the point of a gun"). Some officials execute government policy, such as those who confiscate one state's seed grain to feed the starving citizens of another; others exploit those policies, such as the railroad regulator who illegally sells the railroad's supplies for his own profit. Both use force to take property from the people who "produced" or "earned" it.

"Moochers" are Rand's depiction of those unable to produce value themselves, who demand others' earnings on behalf of the needy, but resent the talented upon whom they depend, and appeal to "moral right" while enabling the "lawful" seizure by governments.

The character Francisco d'Anconia indicates the role of "looters" in relation to money itself:

"So you think that money is the root of all evil? ... Have you ever asked what is the root of money? Money is a tool of exchange, which can't exist unless there are goods produced and men able to produce them. Money is the material shape of the principle that men who wish to deal with one another must deal by trade and give value for value. Money is not the tool of the moochers, who claim your product by tears, or the looters who take it from you by force. Money is made possible only by the men who produce. Is this what you consider evil? ... Not an ocean of tears nor all the guns in the world can transform those pieces of paper in your wallet into bread you need to survive tomorrow. ... Whenever destroyers appear among men, they start by destroying money, for money is men's protection and the base of a moral existence. Destroyers seize gold and leave its owners a counterfeit pile of paper. This kills all objective standards and delivers men into the arbitrary power of an arbitrary setter of values ... Paper is a mortgage on wealth that does not exist, backed by a gun aimed at those who are expected to produce it. Paper is a check drawn by legal looters upon an account which is not theirs: upon the virtue of the victims. Watch for the day when it bounces, marked: 'Account Overdrawn.'"[34]

Theory of sex

"Through Dagny's associations ... Rand illustrates what a relationship between two self-actualized, equal human beings can be ... Rand denies the existence of a split between the physical and the mental, the desires of the flesh and the longings of the spirit."[36]

– Mimi Reisel Gladstein, Ayn Rand and Feminism: An Unlikely Alliance

The first and predominant act is of Hank Rearden, who partners with Dagny after the opening of the John Galt Line to celebrate their success. The affair continues until Hank's wife discovers it, but allows the affair to continue until Hank manipulates the judicial system to obtain a divorce, awaiting which Mrs. Rearden seduces Dagny's brother James (who is also married, and despises Hank). Having caught them, and by now understanding that Dagny Taggart was in fact the real mind behind Taggart Transcontinental (and her husband the archetypal 'looter'), Cherryl commits suicide after a violent argument - screaming "No! No! Not your kind of world!" as she leaps to her death.

Mentions of consent within the text include Dagny and Francisco's first sexual encounter, described as "a shocking intimacy that needed no consent from her, no permission" and "she knew that fear was useless, that he would do what he wished, that the decision was his". During the encounter, the text says, "he left nothing possible to her except the thing she wanted most – to submit". When she is with Hank, it says he "took her wrist and threw her inside his room, making the gesture tell her that he needed no sign of consent or resistance".

Ayn Rand also presents sex as the sole act a human being can do only out of desire. And since it stems only from desire, it reflects with precision the true personality of that person, and the person's most passionate wants.

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