ATLAS SHRUGGED, Ayn Rand is the opposite of modern pop-fiction.
Philip Atlas Clausen January 15, 2018
A big novel, a big investment of time, written in a time and for a time (1957) when there were far fewer media and entertainment venues in the world to pull the mind into the bright nothings of modern life, when a novelist could get away with long soliloquys quite unnatural to the modern sound-byte consciousness. This big book is for the contemplative reader. Here’s what it’s about. Brilliant, hard-working industrialists create all the modern wonders of incredible motors, trains and steel–and the government talking-heads ‘experts’ do all in their power to bleed the creators dry of their just rewards symbolized by the mighty $ sign. The mysterious John Galt secretly organizes the creators into a strike: they disappear one at a time into a hidden and secret valley and withhold from the non-producers of the world their creative and maintaining powers. The industrial world slowly crumbles. Trains stop running. Electricity runs out. The lights of the world go out. At the end of the novel, now that the world learns who its real benefactors are, the inventors, creators, artists and industrialists: the creators are ready to return and rebuild the world. It’s a unique book if a little exhaustive and exhausting. Something Ayn Rand does over and over again to the point of silliness is overdrawing of faces: triple meaning etched into the expression of every face becomes a little tiresome and eventually preposterous. This novel is a very long dramatization of the virtues of capitalism versus the evils of socialism and welfare-ism. It’s like mental weightlifting: tiring, but noble and worth the effort. The opposite of modern pop-fiction.