Atlas Shrugged, the behemoth magnum opus of Ayn Rand's dubious philosophical entanglement she termed 'Objectivism', sits high atop the edifice of the grand American novel - more as a gargoyle than an angel. This beloved monolith of libertarian thought, this titan of the conservative canon, is, it pains me to report, a literary debacle of the first order. It possesses the dubious quality of being as monochromatic in its characterizations as it is dogmatic in its ideological discourse.
Ayn Rand, a figure both lionized and lambasted, has composed a tome where her philosophical leanings not only take center stage, but push the attendant elements of narrative and character to the extreme wings. Characters, rather than breathing, living beings, function as mouthpieces for her philosophy, and the plot is choreographed to serve as nothing more than a blueprint for her ideological edifice.
It is with a measure of trepidation, then, that we must attempt to penetrate the gilded veil of reverence that has, for too long, shrouded this literary Leviathan. This text, oft hailed as a monument to the unfettered power of human will, deserves to be scrutinized, not with the rose-tinted spectacles of political bias, but through the unsparing lens of literary critique. We must dissect the work and its creator, scrutinize the prose, the plot, the characters, and above all, the philosophy that so consumes this book as to render it less a work of fiction, and more a polemic.
Historical Context
Ayn Rand, born Alisa Zinovyevna Rosenbaum in 1905, escaped from the Soviet Union in her early twenties. Her fraught childhood, colored by the harsh realities of the Communist regime, left an indelible mark on her psyche, leading to her enduring mistrust of collectivist ideologies. It is from this crucible of personal history that 'Atlas Shrugged', published in 1957, emerges. Rand's dystopian America, suffocating under the weight of bureaucratic regulations and the tentacles of a bloated welfare state, is an unabashed indictment of her birth country's political system.
However, the novel's timing, nestled in the thick of the Cold War, brought it into alignment with the fears and apprehensions of many Americans at the time. This synchronicity with the zeitgeist, coupled with its espousal of the self as the primary unit of concern, earned the book a cherished place in the hearts of those subscribing to libertarian and conservative ideologies. It was, and remains, a potent talisman against the creeping specter of collectivism.
That said, a historical context that resonates does not salvage a novel that is fundamentally lacking in literary merit. 'Atlas Shrugged' is mired in a dystopian quagmire, one that Rand manipulates with the finesse of a bulldozer. The result is a bleak, monotonous landscape where subtlety is as scarce as the virtuous industrialists in her tale.
Plot Summary
The narrative of 'Atlas Shrugged' follows Dagny Taggart, a fiercely independent railroad executive, and Hank Rearden, a steel magnate and Rand's embodiment of the 'self-made man.' They fight against the ever-encroaching tentacles of a government increasingly hell-bent on subjugating individual achievement to collective welfare. The central mystery of the novel - a question, "Who is John Galt?" - winds its way through the book, finally leading to a hidden utopia where the world's creators have absconded, in a strike against a society that they believe doesn't value their worth.
For a book of its considerable length, it's astonishing how little narrative development there is to dissect. The plot serves as nothing more than a skeletal framework, upon which Rand drapes her philosophy of objectivism. Our protagonists traverse through a landscape of economic ruin and moral decay, their journey punctuated by encounters with caricatured villains who espouse the collectivist ideologies that Rand so despises.
However, any semblance of tension or mystery is systematically dismantled by Rand's dogged commitment to her ideological narrative. Long-winded speeches replace engaging dialogues, and a foregone conclusion awaits the reader at the end of this laborious journey - a conclusion that comes as no surprise, given the novel's unyielding commitment to its doctrinal narrative.
Main Characters and their Roles
Dagny Taggart, the protagonist, embodies Rand's vision of the ideal woman - fiercely independent, eminently capable, and inextricably bound to her work. Hank Rearden, the steel tycoon, mirrors Dagny's commitment to individual achievement and serves as the novel's primary male protagonist. John Galt, the enigmatic figure who haunts the book's narrative, ultimately reveals himself as the leader of the virtuous creators' rebellion. These three form the backbone of Rand's ideological narrative.
However, their roles as characters are, much like the rest of the novel's elements, subjugated to Rand's philosophy. They do not exist as flesh-and-blood entities, with complex psychologies and shifting loyalties. Instead, they are monolithic pillars, inflexible in their ideological alignment, and immune to the nuances of human emotion. Their interactions are dictated not by personal dynamics, but by the requirements of Rand's dogma.
In the end, 'Atlas Shrugged' gives us not characters, but caricatures. It delivers not a narrative, but a sermon. It offers not a novel, but a manifesto. And that, for a work that has so dominated the cultural and political discourse, is nothing short of a literary tragedy.
Rand’s Writing Style: Criticism of Prose and Dialogue
For a novel of such length, 'Atlas Shrugged' is remarkably devoid of nuance. Rand's prose is as flat as a steel plank - fitting, perhaps, given the novel's industrial backdrop but wholly unsuited to the task of compelling storytelling. Her sentences, though grammatically sound, are void of the cadences, the delicate balances of rhythm and texture that distinguish great literature from the merely passable.
Dialogue in the novel is a farcical imitation of actual conversation. Characters don't speak to one another; they orate, each conversation a verbose jousting match of ideologies. The resulting dialogue feels not only stilted but exasperatingly pedantic, characters transmuted into mouthpieces for Rand's monotonous polemic.
Subtlety, it seems, is a quality that Rand actively eschews. Her writing, blunt and unvarnished, is as subtle as a sledgehammer. It is a style designed not to captivate or enchant but to bludgeon the reader into submission.
Character Development: Lack of Nuance and Depth
The cast of 'Atlas Shrugged' exists on a single axis, their characters defined solely by their ideological alignment. They are rendered not in shades of gray but in stark monochrome, the heroes and villains distinguished not by their actions but by their adherence to or deviation from Rand's philosophy. This binary approach to character development results in figures who are not only unrelatable but also fundamentally unrealistic.
Humanity, in all its intricate complexity, is conspicuously absent from Rand's characters. There is no room for doubt or self-contradiction in the hearts of her protagonists, their convictions as unyielding as the steel produced by Rearden's mills. Such characters, devoid of the vicissitudes that make us human, come across as mere automatons, programmed to spew Rand's dogma at the slightest provocation.
This failure to inject her characters with depth and nuance not only robs the novel of any emotional resonance but also undermines the very philosophy Rand seeks to promulgate. By eschewing complexity, 'Atlas Shrugged' fails to reflect the very essence of the individualism it so vehemently champions.
Plot Structure: Predictability and Contrivance
'Atlas Shrugged', despite its narrative ambitions, is a novel under the tyranny of its theme. The plot is subservient to the ideological thrust of the novel, each event contrived to reinforce Rand's philosophy. The result is a narrative structure that is as predictable as it is stilted.
From the inexplicable desertion of society's productive individuals to the contrived downfall of the collectivist regime, every major plot point is designed to drive home Rand's message. The result is a narrative trajectory that feels forced and artificial, bereft of the organic unpredictability that characterizes compelling storytelling.
The novel's climax, instead of providing a thrilling culmination of the narrative arc, devolves into a protracted monologue - a philosophical treatise masquerading as a revelation. It's an ending that is not only predictable but disappointingly anticlimactic, a missed opportunity for the narrative redemption that the novel so desperately needs.
Themes and Symbolism: Heavy-handed and Unsubtle
'Atlas Shrugged' is rife with themes and symbolism, each as subtle as a neon sign. From the railroad - a not-so-subtle representation of progress and individual achievement - to the strike of the 'productive' individuals, every symbol and theme in the novel serves a singular purpose: to glorify Rand's philosophy of objectivism.
However, the absence of subtlety robs these symbols and themes of their potential power. They come across not as layered metaphors but as blatant propaganda, their message as nuanced as a bullhorn. Instead of weaving these elements into the fabric of the narrative, Rand uses them like battering rams, driving home her philosophy with relentless, numbing force.
The result is a novel that feels less like a work of fiction and more like a political tract, its literary merits sacrificed on the altar of ideological evangelism. In 'Atlas Shrugged', subtlety and complexity are casualties, sacrificed for the pursuit of doctrinal purity. The novel, in the process, loses not just its narrative charm but its capacity to genuinely engage with its reader.
Exploration of Objectivism: Is it Ethically and Practically Sound?
It’s hardly a surprise to any reader that Rand is unequivocally devoted to her philosophy of objectivism in ‘Atlas Shrugged’. Yet, her exploration of this ideology in the novel serves less as a nuanced philosophical discourse and more as an oversimplified and dogmatic catechism. Characters are less fleshed-out humans with conflicting emotions and more puppet-like mouthpieces for her own beliefs, thereby crippling the novel's capacity for nuanced ethical exploration.
This is not to dismiss objectivism in its entirety. In an era riddled with collectivist ideologies, Rand's championing of individual rights and capitalism holds a certain appeal. However, her portrayal of these concepts lacks the sophistication and complexity that real-world application necessitates. The absolutism of Rand's philosophy - the stark division of the world into 'producers' and 'moochers' - is a gross oversimplification of economic and social reality.
Moreover, while Rand's glorification of reason and self-interest is commendable in principle, its execution in 'Atlas Shrugged' presents a world where empathy, solidarity and mutual aid – qualities that form the bedrock of human societies – are conspicuously absent. It's a vision of society that is as ethically dubious as it is practically unfeasible, its theoretical allure undermined by its disregard for the complexities of human nature and social dynamics.
Influence of Rand’s Philosophy on the Story and Characters
Rand's philosophy doesn't just form the thematic backbone of 'Atlas Shrugged'; it is the novel's raison d'être. Every character, every plot twist, every monologue is a direct outgrowth of her objectivist doctrine. While this could have made for a compelling exploration of philosophical principles, in Rand's hands, it results in a work of fiction that is less a novel and more a philosophical tract.
The characters in 'Atlas Shrugged' are not individuals but archetypes, their personalities and actions determined not by their unique circumstances or emotional landscapes but by their alignment with Rand's philosophy. They are conduits for her ideas, their humanity secondary to their ideological utility. The result is a cast of characters that, despite their heroic pretensions, fail to evoke any real empathy or emotional investment from the reader.
The plot too is a slave to Rand's philosophy. Each twist and turn, each rise and fall, is orchestrated not to further the narrative or character development but to illustrate the supposed superiority of objectivism. The result is a story that is not only predictable but also lacking in the compelling dynamism that characterizes great literature.
Critique of Rand's Conception of Altruism and Collectivism
Perhaps the most contentious aspect of Rand's philosophy as presented in 'Atlas Shrugged' is her conception of altruism and collectivism. In Rand's world, altruism is a cardinal sin, a devaluation of the individual in favor of the collective. Collectivism, similarly, is portrayed as a system that rewards mediocrity and punishes achievement.
But Rand's vilification of these concepts is as unnuanced as it is dogmatic. Altruism is not, as Rand portrays it, an act of self-annihilation but a recognition of our shared humanity, a testament to our capacity for empathy and compassion. Similarly, collectivism is not inherently antithetical to individual achievement or freedom. On the contrary, when practiced responsibly, it can foster social cohesion and mutual support.
By painting altruism and collectivism as the antithesis of freedom and prosperity, Rand fails to engage with these concepts in their full complexity. It's a failure that not only undermines the philosophical integrity of 'Atlas Shrugged' but also contributes to its overall narrative and thematic shortcomings. The world Rand presents in her magnum opus is not just a dystopian vision of society; it's an intellectually hollow caricature, its stark division of good and evil bereft of the complexity and nuance that real-world ethics and politics entail.
Influence on Libertarianism and Conservative Politics
Ayn Rand’s 'Atlas Shrugged' has found its most avid readership not in the realm of literary enthusiasts, but amongst libertarians and conservatives. The novel’s celebration of individualism and unfettered capitalism has earned it a cult following among those who see in Rand's philosophy a validation of their own socio-political beliefs. Yet, one cannot ignore the potential dangers inherent in this.
Libertarianism, with its emphasis on individual freedom and minimal government interference, finds a strong ally in 'Atlas Shrugged'. The novel’s depiction of governmental bodies and collective societies as innately parasitic and oppressive resonates with libertarian fears of an overreaching state. However, the book's one-dimensional portrayal of these entities risks bolstering a version of libertarianism that ignores the very real need for social safety nets and checks on corporate power.
Likewise, the novel’s influence on conservative politics can be seen in the way Rand’s rhetoric has been employed by right-wing figures to justify policies favoring the wealthy and deriding welfare programs. While fiscal conservatism has its place, the uncritical adoption of Rand’s extreme laissez-faire capitalism runs the risk of exacerbating income inequality and ignoring the plight of the marginalized.
Criticism of its Status as a Literary Classic
Despite its enduring popularity, 'Atlas Shrugged' has faced widespread criticism from the literary community. Many regard its status as a "classic" with skepticism, pointing out the myriad flaws in Rand's writing style and storytelling. The prose, rife with bombastic speeches and repetitive descriptions, is often deemed turgid and overwrought.
The characters too are found lacking. Stripped of any emotional complexity, they exist solely to prop up Rand's philosophical agenda. They are either paragons of objectivist virtue or caricatures of collective vice, leaving little room for the reader to engage with them on a human level. This failure to provide fully realized, empathetic characters is a serious shortcoming in any work purporting to be a great novel.
Moreover, the plot of 'Atlas Shrugged', heavy-handed in its symbolism and contrived in its developments, is seen as further evidence of its literary shortcomings. It's a narrative not of human struggle and growth, but of philosophical dogmatism, its twists and turns subservient to the dictates of Rand's ideology. In its failure to balance its philosophical aspirations with its responsibilities as a work of fiction, 'Atlas Shrugged' falls short of the nuanced complexity and emotional resonance that characterize true literary classics.
Summary of Major Criticisms
To summarize the manifold criticisms leveled against 'Atlas Shrugged': its prose is a slog, its dialogue a labor, and its characters are as flat as cardboard cutouts. The narrative is burdened with lengthy, monotonous speeches that do more to pontificate than to propel the story. The characters, meanwhile, are mere mouthpieces for Rand's rigid ideology, lacking the depth and nuance that lend literary characters their believability and allure.
In terms of plot, Rand's opus is rife with contrivance and predictability. The narrative structure is subservient to Rand's didactic aims, leading to a series of events that often strain belief. As for its themes and symbolism, they are as subtle as a sledgehammer, leaving no room for interpretation or mystery.
Lastly, the book's exploration of objectivism is an exercise in absolutism. It paints a simplistic picture of altruism and collectivism, vilifying these concepts without offering a balanced, reasoned critique. The result is a philosophical treatise that lacks intellectual rigor and complexity.
Final Thoughts on the Influence and Legacy of Atlas Shrugged
Despite its glaring flaws, 'Atlas Shrugged' continues to wield significant influence. Its philosophy has found a home among libertarians and conservative politicians who champion Rand's vision of unfettered capitalism. Yet, one must question the wisdom of adopting such an extreme ideology, one that seems dismissive of the communal bonds that knit a society together.
Moreover, the book's status as a literary classic is highly contentious. Its literary shortcomings are numerous and its contribution to the canon is questionable at best. True classics possess a depth of character, an elegance of prose, and a subtlety of theme that 'Atlas Shrugged' patently lacks.
In conclusion, while 'Atlas Shrugged' may be a favorite of those who align with Rand’s socio-political philosophies, as a piece of literature, it leaves much to be desired. It offers us a world not as it is, but as Rand wished it to be – uncompromisingly objectivist and unapologetically capitalistic. The danger, of course, is when we mistake this constructed reality for our own, ignoring the complexities of human nature and the nuances of societal structure in favor of a stark and simplistic ideology.
Bibliography:
- Branden, Barbara. "The Passion of Ayn Rand." Doubleday, 1986.
- Britting, Jeff. "Ayn Rand." Overlook Duckworth, 2004.
- Burns, Jennifer. "Goddess of the Market: Ayn Rand and the American Right." Oxford University Press, 2009.
- Den Uyl, Douglas J., and Rasmussen, Douglas B. "The Philosophic Thought of Ayn Rand." University of Illinois Press, 1984.
- Gladstein, Mimi Reisel. "The New Ayn Rand Companion." Greenwood, 1999.
- Heller, Anne C. "Ayn Rand and the World She Made." Doubleday, 2009.
- Peikoff, Leonard. "Objectivism: The Philosophy of Ayn Rand." Dutton, 1991.
- Rand, Ayn. "Atlas Shrugged." Random House, 1957.
- Sciabarra, Chris Matthew. "Ayn Rand: The Russian Radical." Pennsylvania State University Press, 1995.
- Whittaker Chambers' 1957 review of Atlas Shrugged in the National Review.
Personal Note: I have chosen to list this political manifesto among my blog writing instead of my writing about literature; my reasoning is self-supporting.
