Intro

Atlas Shrugged seems to be everywhere today. Randian villains are in the news. Rand remains influential on the right, from the Reagan era to the modern libertarian movement. Perhaps most significantly, entrepreneurs like Elon Musk and Marc Andreessen who are moving into government with DOGE, have been influenced by Rand, and, fascinatingly, Andreessen only read the novel four years ago.

Hollis Robbins (@Anecdotal) and I talked about how Atlas Shrugged is in conversation with the great novels of the past, Rand’s greats skills of plotting, drama, and character, and what makes Atlas Shrugged a serious novel, not just a vehicle for ideology.

Love it or loathe it, Atlas Shrugged is having a moment. Everyone brings a preconception of Ayn Rand, but she has been opposed by the right and the left ever since she first published. Other than Jennifer Burns’ biography, academic study has largely declined to notice Rand. But Rand deserves our serious attention, both as a novelist, and as an influence on the modern world.

Here are a couple of excerpts.

We talk a lot these days about, “how can I be my best self?” That’s what Rand is saying. She's saying, actually, it’s not about earning money, it’s not about being rich. It is about the perfection of the moral life. It's about the pursuit of excellence. It’s about the cultivation of virtue. These are the important things. This is what Dagny is doing. When all the entrepreneurs at the end, they’re in the happy valley, actually, between them, they have not that much money, right?

Also this.

What would Ayn Rand think about the influencer economy? Oh, she’d despise it. She would despise it… all these little girls wanting to grow up to be influencers, they’re caught in some algorithm, which is awful. Why would you want to spend your life influencing others? Go create something. It’s a hard medicine.

And.

Her aesthetic is very classical, draped. She doesn't wear flowery patterns. She wears draped, clearly close-fitting gowns and gray tailored suits and a minimum of jewelry, though she does have this bracelet chain made of Rearden metal. You don't know when she possibly has time to go shopping, but she’s perfectly dressed all the time in the fashion that we would understand as feminist. She wears trousers, she wears suits, but when she goes out, this black velvet cape. I think it’s important to see her as that, even though nobody talks about that in terms of this novel, what a heroine she is. I know that when I was reading her as a teenage girl, that’s it.

Transcript

Henry: Today, I am talking with Hollis Robbins, former dean of the humanities at Utah University and special advisor on the humanities and AI. We are talking about Atlas Shrugged by Ayn Rand. Hollis, hello.

Hollis Robbins: Hello. I'm really glad to have this conversation with you. We've known each other for some years and follow each other's work. I was trained as a scholar of 19th-century American, Victorian, and African-American literature, mostly novels, and love having conversations with you about big, deep novels. When I suggested that we read this book, I was hoping you would be enthusiastic about it, so I'm really happy to be having this conversation. It's hard to know who's interviewing you or what conversation this is, but for you coming at this middle-aged. Not quite middle-aged, what are you?

Henry: I'm middle enough. No. This is not going to be an interview as such. We are going to have a conversation about Atlas Shrugged, and we're going to, as you say, talk about it as a novel. It always gets talked about as an ideology. We are very interested in it as a novel and as two people who love the great novels of the 19th century. I've been excited to do this as well. I think that's why it's going to be good. Why don't we start with, why are we doing this?

Hollis: I wanted to gesture to that. You are one of the leading public voices on the importance of reading literature and the importance of reading novels particularly, though I saw today, Matt Yglesias had a blog post about Middlemarch, which I think he just recently read. I can credit you with that, or us, or those of us who are telling people read the big novels.

My life trajectory was that I read Atlas Shrugged and The Fountainhead before I read Dickens, before I read Jane Austen, before I read Harriet Beecher Stowe or Melville or the Brontës. For me, Atlas Shrugged and The Fountainhead were foundational novels as novels. I wondered what it would be like to talk to somebody whose experience was flipped.

Henry: Right, I'm 38 and I'd never read this book. I was coming at it partly having read all those other books, but partly for my whole life, people have said, "Oh, that's really a bad book. That's so badly written. That book is no good." The number one thing I can say to people is this book is fun.

Hollis: It's really fun. I was going to say usually what I forget to do in talking about books is give the summary. I'm going to hold up my copy, which is my dog-eared copy from high school, which is hilarious. It's got the tiniest print, which I couldn't possibly read now. No underlining, which is interesting. I read this book before I understood that you were supposed to underline when you liked passages in the book.

It was interesting to me. I'd probably read it five or six times in my youth and didn't underline anything. The story is--- You can help me fill in the blanks. For readers who haven't read it, there's this young woman, Dagny Taggart, who's the heiress of the Taggart Transcontinental Railroad fortune. She's a woman. This takes place in about, I think, the '40s, '50s. Her older brother, Jim Taggart, is CEO. She's COO, so she's the operations person. It is in some ways the story of her-- It's not quite a bildungsroman. This is the way I tell the story. It's the story of her coming to the realization of how the world works. There's many ways to come at this story. She has multiple boyfriends, which is excellent. Her first boyfriend, his name is Francisco d'Anconia. He's the head of d'Anconia Copper. He too is an heir of this longstanding copper fortune. Her second is a metals magnate, Hank Rearden, who invents this great metal, Rearden metal.

Really, it's also the story of the decline of America, and the ways that, in this Randian universe, these villainous group of people who run the country are always taking and extracting from producers. As she's creating and building this great railroad and doing wonderful things and using Rearden metal to do it, something is pulling all the producers out of society, and she's like, "What is going on?"

It turns out there's this person, John Galt, who is saying, "I don't like the way the country is run. I don't like this extractive philosophy. I am going to take all the producers and lure them voluntarily to a--" It's a hero's lair. It's not like a James Bond villain lair. It's a hero lair in Colorado called Galt's Gulch. He is John Galt. It ends up being a battle between who is right in a wrong world. Is it the ethical person, Dagny Taggart, who continues to strive and try to be a producer and hold on to her ethics in this corrupt world, or is it somebody saying, "To hell with this. I am going on strike. You guys come with me and let the world collapse." How's that for summary?

Henry: No, I think that's great. I couldn't have done a better job. One thing that we can say is that the role of reason, of being a rational person, of making reason the sole arbiter of how you make choices, be they practical, ethical, financial, whatever, that's at the heart of the book, right?

Hollis: That's the philosophy. We could go there in a second. I think the plot of the book is that she demonstrates this.

Henry: What she has to learn, like what is the big lesson for Dagny, is at the beginning, she hasn't fully understood that the good guys use reason and the bad guys do not, as it were.

Hollis: Right. I think that's right. I like thinking about this as a bildungsroman. You said that the book is fun. Her part of the book is fun, but not really fun. The fun part of the book, and you can tell me because every time you kept texting me, "Oh my God, Jim Taggart. Oh my God, Jim Taggart. Oh my God, Jim Taggart."--

Henry: These guys are so awful. [laughs]

Hollis: They're so awful. The fun parts of the book, the Rand villains are the government entities and the cabals of business leaders who she calls looters and second-handers who run the country and all they do is extract value. Marc Andreessen was on a podcast recently and was all about these Rand villains and these looters. I think, again, to get back to why are we doing this and why are we doing this now, Ayn Rand and Atlas Shrugged is in the air with the second Trump administration.

Henry: Yes. In a way, we're doing this because the question is, is this the novel of the future? Right? What we're seeing is it's very influential on the right. Rand's ideas have long been a libertarian inspiration. Elon Musk's read her. You mentioned Andreessen, Peter Thiel, all these people. It goes back to the Reagan days. People in the Republican Party have been quoting Ayn Rand. Then more broadly, we see all these worries about social collapse today. What happens in the plot of Atlas Shrugged is that society does slowly collapse.

Dagny has to realize it's because of these people who are not using their reason and they're nationalizing things and taking resource away from proficient entrepreneurs and stuff. It's all about infrastructure, energy, people doing exploitation in the name of the common good, ineffective political leaders, people covering up lies and misdemeanors, people being accepting of what is obviously criminal behavior because it's in the cause of the greater good. We have free speech, all these topics, energy production. We're seeing this in the headlines. When I was reading this book, I was like, "Oh my God, how did she know?"

Hollis: How did she know?

Henry: How did she know.

Hollis: I think the bildungsroman aspect of this as a novel. It's hard to read it as a novel. I think it's hard. By the way, I have to really I applaud you for not, until you got almost to the end of the book, texting me about this person or that person, or how it's political. I admire you for looking at the book and coming to the book as an expert in novels.

What she comes to terms with, and it's a real slowly-- It's not even scales falling from her eyes. She doesn't sit and say, "Oh my God, the world is corrupt." She just is like, "That person's corrupt. I'm not going to deal with them. That person's corrupt. I'm not going to deal with them." She just keeps going, but she doesn't ever accept with a fatalism that she's living in this world where every single person who's in charge is going to let her down.

Henry: It's also interesting to me that she doesn't complain.

Hollis: No.

Henry: Now, that reminded me of I wrote about Margaret Thatcher in my book. She was another big one for however hard it was, however difficult it was, why would you complain? Let's just go to work. A lot of people found her difficult for that reason. When I was reading this, I was like, "Ayn Rand clearly has the same idea. You can nationalize every last inch of the economy. I'm going to get up and go to work and try and beat you. I'm not going to sit around and complain." It's a very stern attitude in a way. She's very strict with herself. I found the book to be-- I know Rand is very atheist, but a very Protestant book.

Hollis: Yes, it really is.

Henry: Intensely Protestant, yes.

Hollis: That's a nice way to think about it. A certain kind of Protestant, a Weberian Protestant.

Henry: Sure.

Hollis: Not a Southern Baptist Protestant who believes in the absence of reason. I was thinking I was teaching in Mississippi years ago. I was teaching a course on Wordsworth and had to do a unit on Voltaire because you can't really understand Wordsworth unless you understand Voltaire. There was a woman in my class. She was a version of Presbyterian who doesn't believe in reason, believes that in the fall, man lost their reason.

Therefore, she asked if she could be excused from class because I was talking about Voltaire and the importance of reason. She said, "This is against my religion. If you believe that man has reason, you are actually going about it wrong, so may I be excused?" Which in all the years I've had people ask for excuses to miss class, that was a memorable one.

Henry: That's unique. [laughs]

Hollis: It's interesting because, again, I should get back to the novel, the opposition from Rand is as strong on the religious right as it is on the left. In fact, very strong. When Atlas Shrugged came out, William F. Buckley famously had Whittaker Chambers write the review. He hated her. He despised her. He despised the fact that she put reason first.

Henry: Yes. I think that's worth emphasizing that some people listening will think, "I'm Rand. These nasty ideas, she's on the right." She's been ideologically described in that way so many times. Deirdre McCloskey in the Literary Review has just in the most recent edition written an absolutely scathing article about Rand. That's libertarian opposition to Rand.

McCloskey is saying Hayek is the real thing here and Rand would have hated everything that Hayek did. She got everything wrong. I think the opposition to her, as you say, it's on both sides. One thing that's interesting about this novel is that because she created her own philosophy, which people will have different views on how well that went, but there isn't anyone else like this. All the other people like this are her followers.

Hollis: Exactly.

Henry: She's outside of the other systems of thought in a way.

Hollis: We should talk about Rand. I'm going to quote a little bit from this book on feminist interpretation of Ayn Rand. Let's talk a little bit, if we can, about Dagny as the heroine of a novel, or a hero, because one of the really interesting things about reading Rand at this moment is that she's got one pronoun, he, him, man. She is in this era where man means man and women. That there isn't men and women, he and she, and now it's he, she, and them. She is like, "There's one pronoun." Even she talks about the rights of man or man believes. She means everybody, but she only means man too. It's interesting.

I was very much part of the first pronoun wars in the 1980s when women scholars were like, "He and she." Now we're thrown out the window with that binary. Again, we don't need to talk about pronouns, but it's really important to understanding Rand and reading this novel, how much she embraces men and the male pronoun, even while she is using it both ways, and even while her story is led by this woman. She's beautiful. She's beautiful in a very specific way. She's tall, she's slender, she's got great cheekbones, she's got great shoulders, she's got long legs.

Her aesthetic is very classical, draped. She doesn't wear flowery patterns. She wears draped, clearly close-fitting gowns and gray tailored suits and a minimum of jewelry, though she does have this bracelet chain made of Rearden metal. You don't know when she possibly has time to go shopping, but she’s perfectly dressed all the time in the fashion that we would understand as feminist. She wears trousers, she wears suits, but when she goes out, this black velvet cape. I think it’s important to see her as that, even though nobody talks about that in terms of this novel, what a heroine she is. I know that when I was reading her as a teenage girl, that’s it.

Henry: I want to be Dagny.

Hollis: I want to be Dagny. I want to have capes, right?

Henry: There's a very important scene, it's not too much of a plot spoiler, where Hank Rearden has invented this new metal. It's very exciting because it's much more efficient and it's much stronger and you can build new bridges for the trains and everything. He makes a bracelet of his new metal. It's a new steel alloy, I think, and gives it to his wife. His wife basically doesn't care.

She's not really interested in what it takes to earn the money, she just wants to have the money. You get the strong impression throughout the book that some of the people that Rand is most scathingly disapproving of are wives who don't work. None of those people come out well. When Dagny goes to a party at the Rearden house and she is romantically involved with Hank Rearden, she sees the bracelet.

Hollis: She isn't then, right? Isn't she not then?

Henry: No, but they have feelings for each other

Hollis: Right. Reasonable feelings for each other.

Henry: That's right, reasonable feelings, but they're not currently acting on those feelings. She sees the bracelet and she exchanges her, I think, diamonds-

Hollis: Diamond bracelet.

Henry: -for the Rearden metal bracelet with the wife. It's this wonderful moment where these two opposite ideals of womanhood that Rand is presenting. It's a great moment of heroism for Dagny because she is saying, "Who cares about glittering diamonds when you have a new steel alloy that can make this incredible bridge?" It sounds crazy, but this is 1957. Dagny is very much what you might call one of the new women.

Hollis: Right.

Henry: I think in some ways, Rand-- I don't like the phrase she's ahead of her time. I've read a lot of 1950s fiction. This is not the typical woman.

Hollis: No, this is not Cheever. This is not a bored suburban housewife at a time when the way the '50s are taught, certainly in America, it's like women could work during the war, then they were suburban housewives, there was bored, there were key parties and all sorts of Cheever sorts of things. This is not that. I read this first. I was only 15 years after it was published, I think, in the '60s, early '70s reading it.

This, to me, seemed perfectly normal and everything else seemed regressive and strange and whiny. There's a lot to be said for reading this novel first. I think if we can talk a little bit about these set pieces because I think for me reading it as a novel and hearing you talk about it as a novel, that novels, whether we're thinking about-- I want to see if you want to compare her to Dorothea or just to any other Victorian women novel that you can think of. That's the closest, right? Is there anybody that's closest to Dorothea from Middlemarch? Is that there are these set pieces. People think that Rand-- the idea is that she's not a great writer. She is a great writer. She started in Hollywood. Her first book, The Fountainhead, was made into a movie. She understands plotting and keeping the reader's attention. We go forward, we go backwards. There's her relationship with Francisco d'Anconia that we see her now, years after, then we have flashbacks to growing up and how they became lovers.

There are big meeting set pieces where everybody's in the room, and we have all the backstories of the people in the room, what is going to happen. There are these big party scenes, as you say. For example, this big, glorious, glamorous party at the Rearden house, Francisco is there. Francisco and Hank Rearden get in a conversation, and she's like, "I want to go see what my old boyfriend is talking to the guy I like about."

There are these moments where you're not supposed to come at the book that way in this serious philosophical way. Then later on when there's this wonderful scene where Francisco comes to see Dagny. This is much later. Hank and Dagny are lovers, so he has a key to her apartment. He walks in and everybody sees immediately what's going on. It's as good as any other farce moment of somebody hiding behind a curtain, right?

Henry: Yes.

Hollis: Everything is revealed all at once. She's very good at scenes like that.

Henry: Yes, very good. She's very good at high drama. One of the phrases that kept coming back to me was that this book is a melodrama of ideas.

Hollis: Yes.

Henry: Right? It's not a novel of ideas as such, it's a melodrama of ideas. I think one thing that people who think she's a bad writer will say is it's melodrama, the characters are flat, the prose is not lyrical, all these different things. Whereas when I read it, I was like, "She's so good at melodrama." I feel like, in some ways, it does not feel like a 1950s novel because there's so much excitement about technology, so much feminism, just so many things that I do not associate--

Maybe I'm being too English, but I don't read John Cheever, for example, and think, "Oh, he loves the train." Whereas this book is very, very exciting as a story about inventing a new kind of train that goes really fast," which sounds silly, but that's a really Dickensian theme, that's in Middlemarch. Actually, that's what Matt Yglesias was talking about in his excellent piece today. What does feel very 1950s is you've got the Hollywood influence. The dialogue, I think, is not always great, but it is often great.

I often would read pages and think, "This would actually be really good in, not an A++ movie, but in a decent crime movie or something. This would be quite good dialogue." There's a comic book aesthetic to it in the way that the scenes play out. Just a lot of these '50s aesthetics actually are present in the book. I'm going to read one paragraph. It's from part one. I think we should read out loud a few bits to give people a sense.

Hollis: Yes.

Henry: This is when Dagny has built a new train line using grid and metal to make the bridge so that it can go over a valley. I think that's right. The train can do 100 miles an hour. It's this very, very exciting new development. It means that energy can be supplied to factories, and so it's a huge, big deal. This is when she's on the train going at 100 miles an hour and she just can't believe it's happening.

"Things streaked past a water tank, a tree, a shanty, a grain silo. They had a windshield wiper motion. They were rising, describing a curve, and dropping back. The telegraph wires ran a race with the train, rising and falling from pole to pole, in an even rhythm like the cardiograph record of a steady heartbeat written across the sky. She looked ahead at the haze that melted rail and distance, a haze that could rip apart at any moment to some shape of disaster."

"She wondered why she felt safer than she had ever felt in a car behind the engine. Safer here where it seemed as if should an obstacle rise, her breast and the glass shield would be the first to smash against it. She smiled, grasping the answer. It was the security of being first with full sight and full knowledge of one's own course, not the blind sense of being pulled into the unknown by some unknown power ahead."

That's not MFA prose or whatever, but it turns the pages. I think she's very good at relating we're on the train and it's going very fast to how Dagny is thinking through the philosophical conundrum that is basically going to drive the whole plot forwards. I was reminded again and again of what Virginia Woolf said about Walter Scott, where she compared Scott to Robert Louis Stevenson. She said that Stevenson had beautiful sentences and dapper little adjectives. It was all jeweled and carefully done. You could marvel over each sentence.

She said, "Whereas Scott, it's just page after page and no sentence is beautiful," but she says, "He writes at the level of the page. He's not like Stevenson. He's not writing at the level of the sentence. You have to step into the world." You can say, 'Oh, that wasn't a very good sentence,' but my goodness, the pages keep turning and you're there in the world, right?

Hollis: Exactly.

Henry: I think she made a really important point there and we just undervalue that so much when we say, oh, so-and-so is not a good writer. What we mean is they're not a Robert Louis Stevenson, they're a Walter Scott. It's like, sure, but Walter Scott was great at what he did. Ayn Rand is in the Walter Scott inheritance in the sense that it's a romance, it's not strictly realistic novel. You have to step into the world. You can't spend your whole time going, "Was that a great sentence? Do I really agree with what she just--" It's like, no, you have to go into this utopian sci-fi universe and you have to keep turning the pages. You get caught up and you go, "Wow, this is this is working for me."

Hollis: Let me push back on that-

Henry: Yes, good.

Hollis: -because I think that was a beautiful passage, one of my favorite passages in this book, which is hard to say because it's a really, really big book. It’s a memorable passage because here she is in a place at this moment. She is questioning herself. Isn't she questioning why? Why do I feel safe? Then it strikes her. In this moment, all interior while all this stuff is happening. This whole Rearden metal train bridge set piece is one of the highlights of at least the first half of the book. You come away, even if we've had our entire life up to her, understanding her as a philosophical this woman. How is that different from Dorothea or from Elizabeth Bennet? Yes, Elizabeth Bennet, right?

Henry: Oh, no, I agree. My point was purely about prose style, which was to say if you say, "Oh, she writes like a Walter Scott, not like a Robert Louis Stevenson," you're going to deny yourself seeing what you've just said, which is that actually, yes, she has the ability to write philosophical characters.

Hollis: When I first read Pride and Prejudice, I read it through the lens of Rand. Now, clearly, these heroines had fewer choices. Dorothea marries Casaubon, I don't know how you pronounce it, because she thinks he's a Randian expert, somebody who's got this grand idea. She's like, "Whoa, I want to be part of this endeavor, the key to all mythologies." Then she's so let down. In the Randian sense, you can see why she would have wanted him.

Henry: That's right. I think George Eliot would have strongly disagreed with Rand philosophically. The heroines, as you say, what they're doing in the novel is having to realize that there are social conventions I have to understand and there are things I have to learn how to do, but actually, the key to working all that out is more at the moral philosophical level. This is what happens to Dagny. I think it's on the next page from what I just read. There's another passage where it says that she's in the train and she's enjoying. It's working and she's thrilled that her train is working. She was trying not to think, but she couldn't help herself.

She said, "Who made the train. Is it the brute force of muscle? Who can make all the dials and the levers? How is it possible that this thing has even been put together?" Then she starts thinking to herself, "We've got a government who's saying it's wrong to do this, you're taking resources, you're not doing it for the common good." She says, "How can they regard this as evil? How can they believe that this is ignoble to have created this incredible thing?"

She says she wants to be able to toss the subject out of the window and let it get shattered somewhere along the track. She wants the thoughts to go past like the telegraph poles, but obviously, she can't. She has this moment of realization that this can't be wrong. This type of human accomplishment can't be against the common good. It can't be considered to be ignoble. I think that is like the Victorian heroines.

To me, it was more like Fanny Price, which is that someone turns up into a relatively closed system of ideas and keeps their own counsel for a long time, and has to admit sometimes when they haven't got it right or whatever. Basically, in the end, they are vindicated on fairly straightforward grounds. Dagny comes to realize that, "I was right. I was using my reason. I was working hard. I was being productive. Yes, I was right about that." Fanny, it's more like a Christian insight into good behavior, but I felt the pattern was the same.

Hollis: Sure. I'll also bring up Jane Eyre here, right?

Henry: Yes.

Hollis: Jane Eyre, her relationship, there's a lot to be said of both Mr. Darcy and Mr. Rochester with Hank Rearden because Hank Rearden has to come to his sense. He's married. He doesn't like his wife. He doesn't like this whole system that he's in. He wants to be with a woman that's a meeting of the mind, but he's got all this social convention he has to deal with. Rochester has to struggle, and of course, Bertha Mason has to die in that book. He ends up leaving his wife, but too late. If we're going to look at this novel as a novel, we can see that there are these moments that I think have some resonance. I know you don't seem to want to go to the Mr. Darcy part of it.

Henry: No. I had also thought about Jane Eyre. My thought was that, obviously, other than being secular because Jane Eyre is very Christian, the difference is that Hank Rearden and Dagny basically agree that we can't conduct our relationship in a way that would be morally compromising to her. They go through this very difficult process of reasoning like, "How can we do this in a good way?"

They're a little bit self-sacrificing about it because they don't want to upset the moral balance. Whereas Mr. Rochester, at least for the first part of the book, has an attitude that's more like, "Yes, but she's in the attic. Why does it matter if we get married?" He doesn't really see the problem of morally compromising Jane, and so Jane has to run away.

Hollis: Right.

Henry: One of the interesting things about Rand, what is different from like Austen and the Brontës and whatever, is that Dagny and Hank are not in opposition before they get together. They have actually this unusual thing in romance and literature, which is that they have a meeting of minds. What gets in the way is that the way their minds agree is contra mundum and the world has made this problem for them.

Hollis: I think in a way, that's the central relationship in--

Henry: Yes. That was how I read it, yes.

Hollis: Yes. The fact as we think about what the complications are in reading this novel as a novel is that here is this great central romance and they've got obstacles. She's got an old boyfriend, he's married. They've got all these things that are classic obstacles to a love story. Rand understands that enough to build it, that that will keep a lot of readers’ interest, but then it's like, "That's actually not the point of my book," which is how the second half or the last third of the novel just gets really wiggy." Again, spoiler alert, but Hank is blackmailed to be, as the society is collapsing, as things are collapsing--

Henry: We should say that the government has taken over in a nationalizing program by this point.

Hollis: Right, because as John Galt is pulling all the thought leaders and the industrialists and all the movers of the world into his lair, things are getting harder and harder and harder, things are getting nationalized. Some of these big meetings in Washington where these horrible people are deciding how to redistribute wealth, again, which is part of the reason somebody like Congressman Paul Ryan would give out copies of Atlas Shrugged to all of his staffers. He's like, "You've got to read this book because we can't go to Washington and be like this. The Trumpian idea is we've got to get rid of people who are covering up and not doing the right thing."

They've blackmailed Hank Rearden into giving up Rearden Metal by saying, "We know you've been sleeping with Dagny Taggart." It's a very dramatic point. How is this going to go down?

Henry: Right. I think that's interesting. What I loved about the way she handled that romance was that romance is clearly part of what she sees as important to a flourishing life. She has to constantly yoke it to this idea that reason is everything, so human passion has to be conducted on the basis that it's logically reasonable, but that it therefore becomes self-sacrificing. There is something really sad and a little bit tragic about Hank being blackmailed like that, right?

Hollis: Yes. I have to say their first road trip together, it's like, "Let's just get out of here and go have a road trip and stay in hotels and have sex and it'll be awesome." That their road trip is like, "Let's go also see some abandoned factories and see what treasures we might find there." To turn this love road trip into also the plot twist that gets them closer to John Galt is a magnificent piece of plot.

Henry: Yes. I loved that. I know you want to talk about the big John Galt speech later, but I'm going to quote one line because this all relates to what I think is one of the most central lines of the book. "The damned and the guiltiest among you are the men who had the capacity to know yet chose to blank out reality." A lot of the time, like in Brontë or whatever, there are characters like Rochester's like that. The center of their romance is that they will never do that to each other because that's what they believe philosophically, ethically. It's how they conduct themselves at business. It's how they expect other people to conduct themselves. They will never sacrifice that for each other.

That for them is a really high form of love and it's what enables huge mutual respect. Again, it's one of those things I'm amazed-- I used to work in Westminster. I knew I was a bit of a libertarian. I knew lots of Rand adjacent or just very, very Randian people. I thought they were all insane, but that's because no one would ever say this. No one would ever say she took an idea like that and turned it into a huge romance across hundreds of pages. Who else has done that in the novel? I think that's great.

Hollis: It really is hard. It really is a hard book. The thing that people say about the book, as you say, and the reason you hadn't read it up until now, is it's like, "Oh, yes, I toyed with Rand as a teenager and then I put that aside." I put away my childish things, right? That's what everybody says on the left, on the right. You have to think about it's actually really hard. My theory would be that people put it away because it's really, really hard, what she tried is hard. Whether she succeeded or not is also hard. As we were just, before we jumped on, talking about Rand's appearance on Johnny Carson, a full half hour segment of him taking her very seriously, this is a woman who clearly succeeded. I recently read Jennifer Burn's biography of her, which is great. Shout out to Jennifer.

What I came away with is this is a woman who made her living as a writer, which is hard to do. That is a hard thing to do, is to make your living as a writer, as a woman in the time difference between 1942, The Fountainhead, which was huge, and 57, Atlas Shrugged. She was blogging, she had newsletters, she had a media operation that's really, really impressive. This whole package doesn't really get looked at, she as a novelist. Again, let me also say it was later on when I came to Harriet Beecher Stowe, who is another extraordinary woman novelist in America who wrote this groundbreaking book, which is filled--

I particularly want to shout out to George Harris, the slave inventor who carried himself like a Rand hero as a minor character and escapes. His wife is Eliza, who famously runs across the ice flows in a brave Randian heroine escape to freedom where nobody's going to tell them what to do. These women who changed literature in many ways who have a really vexed relationship or a vexed place in academia. Certainly Stowe is studied.

Some 20 years ago, I was at an event with the great Elaine Showalter, who was coming out with an anthology of American women writers. I was in the audience and I raised my hand, I said, "Where's Ayn Rand?" She was like, "Ha, ha, ha." Of course, what a question is that? There is no good reason that Ayn Rand should not be studied in academia. There is no good reason. These are influential novels that actually, as we've talked about here, can be talked about in the context of other novels.

Henry: I think one relevant comparison is let's say you study English 19th-century literature on a course, a state-of-the-nation novel or the novel of ideas would be included as routine, I think very few people would say, "Oh, those novels are aesthetically excellent. We read them because they're beautifully written, and they're as fun as Dickens." No one's saying that. Some of them are good, some of them are not good. They're important because of what they are and the barrier to saying why Rand is important for what she is because, I think, people believe her ideas are evil, basically.

One central idea is she thinks selfishness is good, but I think we've slightly dealt with the fact that Dagny and Hank actually aren't selfish some of the time, and that they are forced by their ethical system into not being selfish. The other thing that people say is that it's all free-market billionaire stuff, basically. I'm going to read out a passage from-- It's a speech by Francisco in the second part. It's a long speech, so I'm not going to read all eight pages. I'm going to read this speech because I think this theme that I'm about to read out, it's a motif, it's again and again and again.

Hollis: Is this where he's speaking to Hank or to Dagny?

Henry: I think when he's speaking to Dagny and he says this.

"Money will not purchase happiness for the man who has no concept of what he want. Money will not give him a code of values if he has evaded the knowledge of what to value, and it will not provide him with a purpose if he has evaded the choice of what to seek. Money will not buy intelligence for the fool, or admiration for the coward, or respect for the incompetent.

"The man who attempts to purchase the brains of his superiors to serve him with his money replacing his judgment ends up by becoming the victim of his inferiors. The men of intelligence desert him, but the cheats and the frauds come flocking to him, drawn by a law which he has not discovered, that no man may be smaller than his money."

Hollis: That's a good--

Henry: Right? It's a great paragraph. I feel like she says that in dozens of ways throughout the book, and she wants you to be very clear when you leave that this book is not a creed in the name of just make money and have free market capitalism so you can be rich. That paragraph and so many others, it's almost biblical in the way she writes it. She's really hammering the rhythms, and the tones, and the parallels. She's also, I think, trying to appropriate some of the way the Bible talks about money and turn it into her own secular pseudo-Aristotelian idea, right?

Hollis: Yes.

Henry: We talk a lot these days about, how can I be my best self? That's what Rand is saying. She's saying, actually, it's not about earning money, it's not about being rich. It is about the perfection of the moral life. It's about the pursuit of excellence. It's about the cultivation of virtue. These are the important things. This is what Dagny is doing. When all the entrepreneurs at the end, they're in the happy valley, actually, between them, they have not that much money, right?

Hollis: Right.

Henry: The book does not end in a rich utopia, it's important to say.

Hollis: It's interesting. A couple of things. I want to get this back since we're still in the novel. Let me say when we get to Galt's great speech, which is bizarre. He says a similar thing that I'll bring in now. He says, "The mother who buys milk for her baby instead of a hat is not sacrificing because her values are feeding the baby. The woman who sacrifices the hat to feed her baby, but really wants the hat and is only feeding the baby out of duty is sacrificing." That's bad. She's saying get your values in order. Understand what it is you want and do that thing, but don't do it because somebody says you have to. She says this over and over in many ways, or the book says this.

Henry: We should say, that example of the mother is incidental. The point she's always making is you must think this through for yourself, you must not do it because you've been told to do it.

Hollis: Right, exactly. To get back to the love story aspects of the book because they don't sit and say they love each other, even all the great romances. It's not like, "I love you. I love you." It's straight to sex or looks and meetings of the minds. It's interesting. We should deal with the fact that from The Fountainhead and a little bit in this book, the sex is a little rapey. It's a difficult thing to talk about. It's certainly one of the reasons that feminists, women writers don't approve of her. In the book, it's consensual. Whatever one wants to think about the ways that people have sex, it is consensual in the book. Also in The Fountainhead.

I'm sure I'll get hate mail for even saying that, but in her universe, that's where it is. What's interesting, Francisco as a character is so interesting. He's conflicted, he's charming, he's her first lover. He's utterly good in every way. He ends up without her. Hank is good. Hank goes through his struggles and learning curve about women prioritizing. If you don't like your wife, don't be married to your wife. It's like he goes through his own what are my values and how do I live them.

I know you think that this is bizarre, but there's a lot of writing about the relationship of Hank and Francisco because they find themselves in the same room a lot. They happen to have both been Dagny's lovers or ex-lovers, and they really, really like each other. There's a way that that bonding-- Homosexuality does not exist in her novels, whatever, but that's a relationship of two people that really are hot for one another. There is a lot of writing. There are queer readings of Rand that make a lot of that relationship.

Again, this isn't my particular lens of criticism, but I do see that the energy, which is why I asked you which speech you were reading because some of Francisco's best speeches are for Hank because he's trying to woo Hank to happy valley. Toward the end when they're all hanging out together in Galt's Gulch, there's clearly a relationship there.

Henry: Oh, yes. No, once you pointed out to me, I was like, "That makes sense of so many passages." That's clearly there. What I don't understand is why she did that. I feel like, and this is quite an accomplishment because it's a big novel with a lot of moving parts, everything else is resolved both in terms of the plot, but also in terms of how it fits her philosophical idea. That, I think, is pretty much the only thing where you're left wondering, "Why was that in there? She hasn't made a point about it. They haven't done anything about it." This I don't understand. That's my query.

Hollis: Getting ready to have this conversation, I spent a lot of time on some Reddit threads. I ran Atlas Shrugged Reddit threads where there's some fantastic conversations.

Henry: Yes, there is.

Hollis: One of them is about, how come Francisco didn't end up with anybody? That's just too bad. He's such a great character and he ends up alone. I would say he doesn't end up alone, he ends up with his boyfriend Hank, whatever that looks like. Two guys that believe in the same things, they can have whatever life they want. Go on.

Henry: Are you saying that now that they're in the valley, they will be more free to pursue that relationship?

Hollis: There's a lot of things that she has said about men's and women's bodies. She said in other places, "I don't think there'll ever be a woman president because why would a woman want to be president? What a woman really wants is a great man, and we can't have a president who's looking for a great man. She has to be a president." She's got a lot of lunacy about women. Whatever. I don't understand. Someplace I've read that she understands male homosexuality, but not female homosexuality. Again, I am not a Rand scholar. Having read and seen some of that in the ether, I see it in the book, and I can see how her novel would invite that analysis.

I do want to say, let's spend a few seconds on some of the minor characters. There are some really wonderful minor characters. One of them is Cherryl Taggart, this shop girl that evil Jim Taggart meets one night in a rainstorm, and she's like, "Oh, you're so awesome," and they get married. It's like he's got all this praise for marrying the shop girl. It's a funny Eliza Doolittle situation because she is brought into this very wealthy society, which we have been told and we have been shown is corrupt, is evil, everybody's lying all the time, it's pretentious, Dagny hates it.

Here's the Cherryl Taggart who's brought into this. In the beginning, she hates Dagny because she's told by everybody, "Hate Dagny, she's horrible." Then she comes to her own mini understanding of the corruption that we understand because Dagny's shown it in the novel, has shown it to us this entire time. She comes to it and she's like, "Oh my God," and she goes to Dagny. Dagny's so wonderful to her like, "Yes. You had to come to this on your own, I wasn't going to tell you, but you were 100% right." That's the end of her.

Henry: Right. When she meets Taggart, there's this really interesting speech she has where she says, "I want to make something of myself and get somewhere." He's like, "What? What do you want to do?" Red flag. "What? Where?" She says, "I don't know, but people do things in this world. I've seen pictures of New York," and she's pointing at like the skyscrapers, right? Whatever. "I know that someone's built that. They didn't sit around and whine, but like the kitchen was filthy and the roof was leaking." She gets very emotional at this point. She says to him, "We were stinking poor and we didn't give a damn. I've dragged myself here, and I'm going to do something."

Her story is very sad because she then gets mired in the corruption of Taggart's. He's basically bit lazy and a bit of a thief, and he will throw anyone under the bus for his own self-advancement. He is revealed to be a really sinister guy. I was absolutely hissing about him most of the time. Then, let's just do the plot spoiler and say what happens to Cherryl, right? Because it's important. When she has this realization and Taggart turns on her and reveals himself as this snake, and he's like, "Well, what did you expect, you idiot? This is the way the world is."

Hollis: Oh, it's a horrible fight. It's the worst fight.

Henry: Right? This is where the melodrama is so good. She goes running out into the streets, and it's the night and there are shadows. She's in the alleyway. Rand, I don't have the page marked, but it's like a noir film. She's so good at that atmosphere. Then it gets a little bit gothic as well. She's running through the street, and she's like, "I've got to go somewhere, anywhere. I'll work. I'll pick up trash. I'll work in a shop. I'll do anything. I've just got to get out of this."

Hollis: Go work at the Panda Express.

Henry: Yes. She's like, "I've got to get out of this system," because she's realized how morally corrupting it is. By this time, this is very late. Society is in a-- it's like Great Depression style economic collapse by this point. There really isn't a lot that she could do. She literally runs into a social worker and the social-- Rand makes this leering dramatic moment where the social worker reaches out to grab her and Cherryl thinks, "Oh, my God, I'm going to be taken prisoner in. I'm going back into the system," so she jumps off the bridge.

This was the moment when I was like, I've had this lurking feeling about how Russian this novel is. At this point, I was like, "That could be a short story by Gogol," right? The way she set that up. That is very often the trap that a Gogol character or maybe a Dostoevsky character finds themselves in, right? That you suddenly see that the world is against you. Maybe you're crazy and paranoid. Maybe you're not. Depends which story we're reading. You run around trying to get out and you realize, "Oh, my God, I'm more trapped than I thought. Actually, maybe there is no way out." Cherryl does not get a lot of pages. She is, as you say, quite a minor character, but she illustrates the whole story so, so well, so dramatically.

Hollis: Oh, wow.

Henry: When it happens, you just, "Oh, Cherryl, oh, my goodness."

Hollis: Thank you for reading that. Yes, you could tell from the very beginning that the seeds of what could have been a really good person were there. Thank you for reading that.

Henry: When she died, I went back and I was like, "Oh, my God, I knew it."

Hollis: How can you say Rand is a bad writer, right? That is careful, careful plotting, because she's just a shop girl in the rain. You've got this, the gun on the wall in that act. You know she's going to end up being good. Is she going to be rewarded for it? Let me just say, as an aside, I know we don't have time to talk about it here. My field, as I said, is 19th century African American novels, primarily now.

This, usually, a woman, enslaved woman, the character who's like, "I can't deal with this," and jumps off a bridge and drowns herself is a fairly common and character. That is the only thing to do. One also sees Rand heroes. Stowe's Dred, for example, is very much, "I would rather live in the woods with a knife and then, be on the plantation and be a slave." When you think about, even the sort of into the 20th century, the Malcolm X figure, that, "I'm going to throw out all of this and be on my own," is very Randian, which I will also say very Byronic, too, Rand didn't invent this figure, but she put it front and center in these novels, and so when you think about how Atlas Shrugged could be brought into a curriculum in a network of other novels, how many of we've discussed so far, she's there, she's influenced by and continues to influence. Let's talk about your favorite minor character, the Wet Nurse.

Henry: This is another great death scene.

Hollis: Let's say who he is, so the government sends this young man to work at the Rearden Mills to keep an eye on Hank Rearden.

Henry: Once they nationalize him, he's the bureaucrat reporting back, and Rearden calls him the Wet Nurse as an insult.

Hollis: Right, and his job, he's the Communist Party person that's in every factory to make sure that everything is--

Henry: That's right, he's the petty bureaucrat reporting back and making sure everyone's complying.

Hollis: He's a young recent college graduate that, Hank, I think, early on, if it's possible even to find the Wet Nurse early scene, you could tell in the beginning, too, he's bright and sparkly right out of college, and this is, it seems like a good job for him. He's like, "Woohoo, I get to be here, and I get to be--" Yes, go ahead.

Henry: What happens to him is, similarly to Cherryl, he has a conversion, but his conversion is not away from the corruption of the system he's been in, he is converted by what he sees in the Rearden plant, the hard work, the dedication, the idealism, the deep focus on making the metal, and he starts to see that if we don't make stuff, then all the other arguments downstream of that about how to appropriate, how to redistribute, whatever, are secondary, and so he becomes, he goes native, as it were. He becomes a Reardenite, and then at the end, when there's a crowd storming the place, and this crowd has been sent by the government, it's a fake thing to sort of--

Hollis: Also, a very good scene, very dramatic.

Henry: She's very good at mobs, very good at mobs, and they kill, they kill the Wet Nurse, they throw him over. He has a couple of speeches in dialogue with Rearden while he's dying, and he says--

Hollis: You have to say, they throw him, they leave him on this pile of slag. He crawls up to the street where Rearden happens to be driving by, and car stops, and so that finding the Wet Nurse there and carrying him in his arms, yes.

Henry: That's right, it's very dramatic, and then they have this dialogue, and he says,

"I'd like to live, Mr. Rearden, God, how I'd like to, not because I'm dying, but because I've just discovered tonight what it means to be alive, and it's funny, do when I discovered it? In the office, when I stuck my neck out, when I told the bastards to go to hell, there's so many things I wish I'd known sooner, but it's no use crying over spilt milk,"

and then Rearden, he goes,

"Listen, kid, said Rearden sternly, I want you to do me a favor." "Now, Mr. Rearden?" "Yes, now." "Of course, Mr. Rearden, if I can," and Rearden says, "You were willing to die to save my mills, will you try and live for me?"

I think this is one of those great moments where, okay, maybe this isn't like George Eliot style dialogue, but you could put that straight in a movie, that would work really well, that would be great, right? I can hear Humphrey Bogart saying these things. It would work, wouldn't it?

She knows that, and that's why she's doing that, she's got that technique. He's another minor character, and Rand is saying, the system is eating people up. We are setting people up for a spiritual destruction that then leads to physical destruction. This point, again, about it's not just about the material world. It's about your inner life and your own mind.

I find it very moving.

Hollis: These minor characters are fantastic. Then let's talk a little bit about Eddie Willers, because I think a lot about Eddie Willers. Eddie Willers, the childhood three, there were three young people, we keep going back to this childhood. We have Dagny, Francisco, because their parents were friends, and then Eddie Willers, who's like a neighborhood kid, right?

Henry: He's down the street.

Hollis: He lives down the street. He's like the neighborhood kid. I don't know about you. We had a neighborhood kid. There's always neighborhood kids, right? You end up spending time with this-- Eddie's just sort of always there. Then when they turn 15, 16, 17, and when there's clearly something going on between Dagny and Francisco, Eddie does take a step back, and he doesn't want to see.

There's the class issues, the status issues aren't really-- they're present but not discussed by Rand. Here we have these two children heirs, and they don't say like, "You're not one of us, Eddie, because you're not an heir or an heiress." He's there, and he's got a pretty good position as Dagny's right-hand man in Taggart Transcontinental. We don't know where he went to college. We don't know what he does, but we know that he's super loyal, right?

Then when she goes and takes a break for a bit, he steps in to be COO. James is like, "Eddie Willers, how can Eddie Willers be a COO?" She's like, "It's really going to be me, but he's going to be fine." We're not really supposed to identify with Eddie, but Eddie's there. Eddie has, all through the novel, all through the big old novel, Eddie eats lunch in the cafeteria. There's always this one guy he's having lunch with. This is, I don't know, like a Greek chorus thing, I don't quite know, but there's Eddie's conversations with this unknown person in the cafeteria give us a sense, maybe it's a narrator voice, like, "Meanwhile, this is going on in the world." We have these conversations. This guy he's having lunch with asks a lot of questions and starts asking a lot of personal questions about Dagny. Then we have to talk to-- I know we've gone for over an hour and 15 minutes, we've got to talk about Galt's Speech, right? When John Galt, toward the end, takes over the airwaves and gives this big three-hour speech, the big three-hour podcast as I tweeted the other day, Eddie is with Dagny.

Henry: He's in the radio studio.

Hollis: He's in the studio along with one of John Galt's former professors. We hear this voice. Rand says, or the narrator says, three people in the room recognize that voice. I don't know about you, did you guess that it was Galt before that moment that Eddie was having lunch with in the cafeteria?

Henry: No, no, no, I didn't.

Hollis: Okay, so you knew at that moment.

Henry: That was when I was like, "Oh, Eddie was talking, right?" It took me a minute.

Hollis: Okay, were you excited? Was that like a moment? Was that a big reveal?

Henry: It was a reveal, but it made me-- Eddie's whole character puzzles me because, to me, he feels like a Watson.

Hollis: Yes, that's nice, that's good.

Henry: He's met Galt, who's been under their noses the whole time. He's been going through an almost Socratic method with Galt, right? If only he could have paid a little bit more attention, he would have realized what was going on. He doesn't, why is this guy so interested in Dagny, like all these things. Even after Galt's big speech, I don't think Eddie quite takes the lesson. He also comes to a more ambiguous but a bad end.

Hollis: Eddie's been right there, the most loyal person. The Reddit threads on Eddie Willers, if anybody's interested, are really interesting.

Henry: Yes, they are, they're so good.

Hollis: Clearly, Eddie recognizes greatness, and he recognizes production, and he recognizes that Dagny is better than Jim. He recognizes Galt. They've been having these conversations for 12 years in the cafeteria. Every time he goes to the cafeteria, he's like, "Where's my friend, where's my friend?" When his friend disappears, but he also tells Galt a few things about Dagny that are personal and private. When everybody in the world, all the great people in the world, this is a big spoiler, go to Galt's Gulch at the end.

Henry: He's not there.

Hollis: He doesn't get to go. Is it because of the compromises he made along the way? Rand had the power to reward everybody. Hank's secretary gets to go, right?

Henry: Yes.

Hollis: She's gone throughout the whole thing.

Henry: Eddie never thinks for himself. I think that's the-- He's a very, I think, maybe one of the more tragic victims of the whole thing because-- sorry. In a way, because, Cherryl and the Wet Nurse, they try and do the right thing and they end up dying. That's like a more normal tragedy in the sense that they made a mistake. At the moment of realization, they got toppled.

Eddie, in a way, is more upsetting because he never makes a mistake and he never has a moment of realization. Rand is, I think this is maybe one of the cruelest parts of the book where she's almost saying, "This guy's never going to think for himself, and he hasn't got a hope." In a novel, if this was like a realistic novel, and she was saying, "Such is the cruelty of the world, what can we do for this person?" That would be one thing. In a novel that's like ending in a utopia or in a sort of utopia, it's one of the points where she's really harsh.

Hollis: She's really harsh. I'd love to go and look at her notes at some point in time when I have an idle hour, which I won't, to say like, did she sit around? It's like, "What should I do with Eddie?" To have him die, probably, in the desert with a broken down Taggart transcontinental engine, screaming in terror and crying.

Henry: Even at that stage, he can't think for himself and see that the system isn't worth supporting.

Hollis: Right. He's just going to be a company man to the end.

Henry: It's as cruel as those fables we tell children, like the grasshopper and the ants. He will freeze to death in the winter. There's nothing you can do about it. There are times when she gets really, really tough. I think is why people hate her.

Hollis: We were talking about this, about Dickens and minor characters and coming to redemption and Dickens, except Jo. Jo and Jo All Alones, there are people who have redemption and die. Again, I don't know.

Henry: There's Cherryl and the Wet Nurse are like Jo. They're tragic victims of the system. She's doing it to say, "Look how bad this is. Look how bad things are." To me, Eddie is more like Mr. Micawber. He's hopeless. It's a little bit comic. It's not a bad thing. Whereas Dickens, at the end, will just say, "Oh, screw the integrity of the plot and the morals. Let's just let Mr. Micawber-- let's find a way out for him." Everyone wants this guy to do well. Rand is like, "No, I'm sticking to my principles. He's dead in the desert, man. He's going to he's going to burn to death." He's like, "Wow, that's okay."

Hollis: The funny thing is poor John Galt doesn't even care about him. John Galt has been a bad guy. John Galt is a complicated figure. Let's spend a bit on him.

Henry: Before we do that, I actually want to do a very short segment contextualizing her in the 50s because then what you say about Galt will be against this background of what are some of the other ideas in the 50s, right?

Hollis: Got it.

Henry: I think sometimes the Galt stuff is held up as what's wrong with this novel. When you abstract it and just say it, maybe that's an easier case to make. I think once you understand that this is 1957, she's been writing the book for what, 12 years, I think, or 15 years, the Galt speech takes her 3 years to write, I think. This is, I think the most important label we can give the novel is it's a Cold War novel. She's Russian. What she's doing, in some ways, is saying to America, "This is what will happen to us if we adopt the system of our Cold War enemies." It's like, "This is animal farm, but in America with real people with trains and energy plants and industry, no pigs. This is real life." We've had books like that in our own time. The Mandibles by Lionel Shriver said, that book said, "If the 2008 crash had actually gone really badly wrong and society collapsed, how would it go?" I think that's what she's reacting to. The year before it was published, there was a sociology book called The Organization Man.

Hollis: Oh, yes. William Whyte.

Henry: A great book. Everyone should read that book. He is worrying, the whole book is basically him saying, "I've surveyed all these people in corporate America. They're losing the Protestant work ethic. They're losing the entrepreneurial spirit. They're losing their individual drive. Instead of wanting to make a name for themselves and invent something and do great things," he says, "they've all got this managerial spirit. All the young men coming from college, they're like, 'Everything's been done. We just need to manage it now.'" He's like, "America is collapsing." Yes, he thinks it's this awful. Obviously, that problem got solved.

That, I think, that gives some sense of why, at that moment, is Ayn Rand writing the Galt speech? Because this is the background. We're in the Cold War, and there's this looming sense of the cold, dead hand of bureaucracy and managerialism is. Other people are saying, "Actually, this might be a serious problem."

Hollis: I think that's right. Thank you for bringing up Whyte. I think there's so much in the background. There's so much that she's in conversation with. There's so much about this speech, so that when you ask somebody on the street-- Again, let me say this, make the comparison again to Uncle Tom's Cabin, people go through life feeling like they know Uncle Tom's Cabin, Simon Legree, Eliza Crossing the Ice, without having ever read it.

Not to name drop a bit, but when I did my annotated Uncle Tom's Cabin, this big, huge book, and it got reviewed by John Updike in The New Yorker, and I was like, "This is freaking John Updike." He's like, "I never read it. I never read it." Henry Louis Gates and then whoever this young grad student was, Hollis Robbins, are writing this book, I guess I'll read it. It was interesting to me, when I talk about Uncle Tom's Cabin, "I've never read it," because it's a book you know about without reading. A lot of people know about Atlas Shrugged without having read it. I think Marc Andreessen said-- didn't he say on this podcast that he only recently read it?

Henry: I was fascinated by this. He read it four years ago.

Hollis: Right, during COVID.

Henry: In the bibliography for the Techno-Optimist Manifesto, and I assumed he was one of those people, he was like you, he'd read it as a teenager, it had been informative. No, he came to it very recently. Something's happening with this book, right?

Hollis: Huge things are happening, but the people who know about it, there's certain things that you know, you know it's long, you know that the sex is perhaps not what you would have wanted. You know that there's this big, really long thing called John Galt's Speech, and that it's like the whaling chapters in Moby-Dick. People read Moby-Dick, you're like, "Oh, yes, but I skipped all the chapters on cetology." That's the thing that you say, right? The thing that you say is like, "Yes, but I skipped all the John Galt's Speech." I was very interested when we were texting over the last month or so, what you would say when you got to John Galt's Speech. As on cue, one day, I get this text and it's like, "Oh, my God, this speech is really long." I'm like, "Yes, you are the perfect reader."

Henry: I was like, "Hollis, this might be where I drop out of the book."

Hollis: I'm like, "Yes, you and the world, okay?" This is why you're an excellent reader of this book, because it is a frigging slog. Just because I'm having eye issues these days, I had decided instead of rereading my copy, and I do have a newer copy than this tiny print thing, I decided to listen on audiobook. It was 62 hours or whatever, it was 45 hours, because I listen at 1.4. The speech is awesome listening to it. It, at 1.4, it's not quite 3 hours. It's really good. In the last few days, I was listening to it again, okay? I really wanted to understand somebody who's such a good plotter, and somebody who really understands how to keep people's interest, why are you doing this, Rand? Why are you doing this, Ms. Rand? I love the fact that she's always called Miss. Rand, because Miss., that is a term that we don't use at all today, that feminists fought not to use. We've got Ms, all sorts of other pronouns. The fact that she always was referred to as Miss. Rand is such a lovely point. Here, why are you doing this? I came to this understanding that it's like the Ninth Amendment to the Constitution, like everything else that we haven't given to the states are to the states, right? It's a catch-all where she is saying, "Look, this book is about all the choices that people need to make." Here, I've had all these thousands of pages of, or 1,800 pages, I think, at that point in time. It comes at about page 2,000 or whatever it is. I forget on what page it is.

Henry: In my edition, it's like page 934.

Hollis: Okay, whatever it is, it comes pretty deep into it. She's like, "I've shown you and demonstrated through my characters choices that you might have to make and what the right one is and what the wrong one is and why." Obviously, the entire world is out there. How is this going to be applied? John Galt's Speech, so John Galt, things are going badly, and John Galt decides he's going to take to the airwaves. We've already seen that he's the super-duper inventor who has new kinds of engines and new kinds of fangled things that are just going to change the world. It's going to be awesome. He's withdrawn them from the market because he will not participate in this corrupt system, right?

We believe that he's a technological whiz kid. He's about your age, I think, toward the end when he does this. He's in his 37. I think I figured out that they're all about 37 toward the end. They're in their 20s. He's your age. He's got this brain.

Henry: I am John Galt.

Hollis: You are John Galt, too. We believe this, in the universe of the novel, that he is the technological know-how to shut down all radio stations in the entire world. I do love that it's usually radio. It's not TV. It's almost always radio. Then he's like, "I am John Galt." Then it goes on for three hours. This is where he says the thing like, "A mother who doesn't have a hat so she can feed her child, that's not a sacrifice." He goes through example after example about this. If you help your friend, it is not a sacrifice if it is your values to help your friend.

By the end of this speech, because I did re-listen to it, it's like, okay, I can see myself there. The plot line that the book doesn't get to, that the novel doesn't get to, gets addressed in this speech. Not all of it, but that is the point. At the very end, you could say, "Okay, where is mother and children? Where is what you owe your wife? What are these various manifestations of life that you're going to need to make a Randian choice?" Or as him, it's a Galtian choice.

It's worth reading for understanding that what it does is it explodes the pages of the novel to include everything, just as a matter of technique. While it doesn't work as a matter of plot because you slog through it, it does work because it is the place that allows you when you're applying the lessons of the novel to your life, it allows you to find your problem will probably be in Galt's Speech.

I thought there was a couple of things that are worth reading. Just if we can spend a second before we close off how the book ends, so everybody knows, is what Rand would think of Silicon Valley today, right? Because I think it's important with Elon Musk spending time in Washington, with somebody like Marc Andreessen reading it, with Peter Thiel, getting this Atlas Award a few years ago. You've got these Rand admirers.

Henry: His FT piece had some very Randian passages, right, Thiel, this week?

Hollis: Yes, exactly. Rand is in the ether, right? She's going to be brought up. What would she think? You could say there's a couple of places in Galt's Speech that give us some sense because her book is so Adams, not bits. She does not live in a software world. You could see that she would love Elon Musk. Absolutely love Elon Musk.

Henry: Well, for the SpaceX stuff, not for the Twitter stuff.

Hollis: Well, yes, she would have loved Tesla, SpaceX, new designs, the Neuralink, whatever, because that's all it has. Apparently, lots of people thought of Steve Jobs as a kind of Rand hero. Building these new computers, new shapes, blah, blah, blah. The real question is what would be her views on software, social media? That so much of this billionaire economy is about extracting value from data mining and aligning your ads and your software as a service and your sales force and all this stuff is extracting value to make the consumer experience more efficient.

She spent this entire novel on production and producers, not consumers. Given so much of our economy is about selling and personalizing or social media, understanding everything about you so that we can deliver ads that are going to be for you, so I can extract. I think she'd be horrified by that, absolutely horrified. There's a couple of places in Galt's Speech I'm going to read, "Honesty is the recognition of the fact that the unreal is unreal and can have no value, that neither love nor fame nor cash is value if obtained by fraud, that an attempt to gain value by deceiving the mind of others is an act of raising your victims to a position higher than reality. Where you become a pawn of their blindness, a slave of their non-thinking and their evasions, while their intelligence, their rationality, their perceptiveness becomes the enemies you have to dread and flee. That you do not care to live as a dependent, least of all a dependent on the stupidities of others, or as a fool whose sources of values is the fool he succeeds in fooling."

I think that, again, I'm not going to indict so much that goes on in social media, thinking about influencers or a bunch of crypto scams. That she would be saying, somebody like Sam Bankman-Fried or a lot of that, is that you are a slave to the stupidity of others. You are a slave to the foolishness of others. I think she would be horrified at business models that depend on the idiocies of others.

A little later she says, "I have nothing to gain from fools or cowards. I have no benefits to seek from human vices, from stupidity, dishonesty, and fear." Sure, she would probably be a fan of Stripe of different kinds of payment systems, that's fine.

Henry: That's infrastructure, right?

Hollis: That's infrastructure. If your job is making people buy things that they don't want or don't need. I think I've told you I'm writing a piece for Luke Burgis on comparing Girard and mimetic theory to Rand. I think mimetic theory and Facebook and Peter Thiel's investment in Facebook, because he understood that you could make tons of money on people wanting to copy other things. This is not Randian. When you think about how exactly, if people start reading Atlas Shrugged again, how they are going to, how somebody who literally is making their living fooling others if they read Galt's Speech, what will they recognize?

Henry: I thought there was a great line, "Accept as your moral ideal the task of becoming a man." I think what you're saying is relevant to that on the other side, I think she would be one of these people who hates the algorithm.

Hollis: Yes.

Henry: Why are you letting them tell you what you are going to read and watch and listen to, accept as your moral ideal the task of becoming a man. This is the persistent motif, you have to will yourself into existence. You have to choose who you will be. There's another line.

Hollis: I was going to say right there, Cherryl and the Wet Nurse, victims of the algorithm.

Henry: Exactly. That's exactly it. Galt says elsewhere, "Yourself is your mind. Renounce it and you become a chunk of meat ready for any cannibal to swallow." That's exactly what you're saying. There's a third passage. This is a little longer.

Hollis: Go ahead.

Henry: This was a moment when I was like, "Okay, I'm all in on the Galt Speech I'm going to look at the first half again. I'm going to take it seriously. It's working for me now," because I think some of what she says in what I'm about to read out, some of what Galt says is not so far away from some criticisms that exist about people like Steve Jobs. These aren't necessarily my criticisms, but I think I've heard other people saying things like this.

Every dictator is a mystic, and every mystic is a potential dictator. A mystic craves obedience from men, not their agreement. He wants them to surrender their consciousness to his assertions, his edicts, his wishes, his whims, as his consciousness is surrendered to theirs. He wants to deal with men by means of faith and force. He finds no satisfaction in their consent if he must earn it by means of facts and reason. Reason is the enemy he dreads and simultaneously considers precarious. Reason to him is a means of deception. He feels that men possess some power more potent than reason and only their causeless belief or their forced obedience can give him a sense of security, a proof that he has gained control of the mystic endowment he lacked.

Hollis: That's a good bit.

Henry: I think that's a great bit. It goes on for like the rest of the page.

Hollis: Of course it goes on.

Henry: Nothing ever ends. There are other good bits. I read that and I was like, partly, I think that is what people say about Steve Jobs, the way he would be the mystic, put on that act. Again, it's not necessarily what I think, but there are so many people not in Silicon Valley but in the mindfulness, well-being, all these related, minimalism, all these related areas. It's all adjacent to self-help. Maybe one generation ago, we would have called it new age. There's a very mystic quality to it. There's a real lack of reason. There's a total, "You just have to do it. This is the way." I think there are so many of these forces in modern culture that she would just say, "What are you all doing? Get a grip, think for yourself." She would be so cross.

Hollis: She would be so cross. I think that's right. I think the crypto is-- I think a lot about this. On the one hand, you see these crypto advocates, whatever, making the case like, "The money system is controlled by corrupt Washington and blah, blah." Even we should, by the way, talk about the fact that Alan Greenspan, who was head of the Federal Reserve for so long was a-

Henry: He was a Randian, right?

Hollis: Right. The idea is you've got this corrupt banking system, and therefore, we need crypto to free ourselves in a Randian sense, to free ourselves from the shackles of this corruption. At the same time, then she would look and she'd be like, "What are NFTs and bored apes and all of that sort of-- are you buying crypto just to buy cryptocurrency? What is data mining? What would Hank Rearden think of Bitcoin," This doesn't make any sense to me.

I think it would be actually an interesting conversation for somebody who knows more about this than I do to explain to me how Bitcoin is rational or FDX is rational in a Randian sense. I think that there's a surface reading and you can see why Rand is hated by-- or in this case, why she might have been hated because she was such a frigging purist. When she would see people using her theories or trying to use them and coming to different ends, she was like, "You're nuts."

There's a beautiful essay that she has that I reread the other day. I don't know if I sent it to you. When she was invited to go see one of the first Apollo launches, I guess the one that reached the moon. She went down to Florida, and it was hot. This essay about watching this is beautiful, about the hot weather and about the sitting in the stands and about this thing. She goes full-on beautiful prose, some of her best writing, and maybe we can link to it later, of this incredible joy and admiration for man's achievement in this launch.

She got hell for it. She got hell for it because NASA's government. "Are you telling us, your readers, that now you believe in government science, isn't this a Stadler thing, Stadler from Atlas Shrugged? How can you be praising NASA? How? How? You're letting all your readers down." She was just like, "Yes, in a perfect world, there wouldn't be NASA. All of these engineers and scientists want to be there and are using their best minds to have done this achievement for mankind." Yes, maybe someday there'll be Elon Musk and SpaceX. She didn't say that. She says, "Yes, maybe someday there will be private spaceflight. There isn't now. Let us celebrate this achievement for mankind now. You fool."

She was always yelling at her supporters.

Henry: The proper reading of that is that that's like building the new train that Dagny built. That no one thought it could be done and here we are, we're going to the moon. Everyone's saying, "Will it not work?" That's, yes, it's the most Randian thing ever, right?

Hollis: Right. Also, one of the most Randian things is the fact that the group that she had sometimes the least admiration for were her own supporters who were getting it a little bit wrong. She's like, "If you're going to follow me, follow me."

Henry: Yes. I think there are other areas in modern culture where that would be true. I think, politically, she would be a little disapproving of all sides, right? It's not a left-right thing. I think she'd have problems with everyone. There's a great line. It's Dr. Akston talking to Dagny. I think he is John Galt's philosophy tutor, right?

Hollis: Right. So again, in the structure of this novel, John Galt, Francisco D'Anconio and this pirate. We didn't even talk about the pirate, Ragnar Danneskjöld, right? All three went to college together, and they had these two professors, Akston and Stadler, physics and philosophy, which is what she thinks everybody should study. Stadler gets corrupt, Akston, no, but these three that went to college together-- It's interesting that Francisco is part of both of these threesomes. These threesome that went to college and then the threesome with Eddie Willers and Dagny that grow up, right? He's a central figure that brings everybody together, which is why he ends up alone. The philosophy professor ends up not compromising his principles. Go ahead.

Henry: That's right. That shows you that this line is coming from a figure who is considered to be a source of a lot of the good ideas in the book. This is, I think, where she is maybe the closest to being Girardian in a way. "It does take an exceptional mind and a still more exceptional integrity to remain untouched by the brain-destroying influences of the world's doctrines." When I read that, I was like, "That's very Randian." That has been said by many people in many schools of thought, in many traditions, that is ancient wisdom.

It's interesting to see her putting that to use in her work. We've been talking about Silicon Valley, her own supporters, algorithm, all these well-being people, politics. Again, she would apply that phrase, that line to all of these areas now and say to people, "Come on, the world's influences are strong on you. You've got to think for yourself."

Hollis: That's interesting. And so a little known fact, but I looked it up yesterday because I have a PDF copy of the book. Influence appears 14 times in the novel. Almost all of them, except for that one, are in the context of James Taggart wanting to get influence in Washington.

Henry: Interesting, because he's a real worm trying to get him in with the political people.

Hollis: Yes. It's interesting, because the other thing I was thinking of is what would Ayn Rand think about the influencer economy? Oh, she'd despise it. She would despise it. All these, speaking of like Cherryl Taggart, all these little girls wanting to grow up to be influencers, they're caught in some algorithm, which is awful. Why would you want to spend your life influencing others? Go create something. It's a hard medicine.

Henry: It's a hard medicine, but it's a perfect way to move to our conclusion, because I think everyone thinks she's about money and free markets and everything, but what we're trying to say is, no, this is what she's about. This is the important thing. Let's sum up, what are your overall thoughts?

Hollis: I'm going back to the notes that we made that I have not looked at.

Henry: My overall feeling is I'm really glad I read it. It's much less crazy than the actual Randians I have met in the world. It's not the book I was told it was. If you're interested, you should read it. I have a very Catholic approach to what we should read. I'm not going to say, "She's got scary, nasty ideas, I won't read it." There are boring bits. Let's just be honest, there are boring bits. It's too long. That is true of a lot of novels.

I never actually wanted to drop out. A lot of boring novels, you say, "Yes, you know what? I'm not doing another 300 pages of this or whatever." I think everything we've discussed, it's good as a novel, but it's also just so interesting now with the new politics that we have, the new cultural influences, so many of the people who are coming into positions of influence have read it. I just kept seeing it again and again. We have the Rotherham scandal in the UK at the moment. There are Randian villains all over that horrible story. It is a very, very interesting book to read on its own terms but also for the world today. That's my takeaway.

Hollis: First of all, I love that. I love that. I figured that just in our discussions about various things, I assumed that you would find value in it as a novel. I grew up reading this. My parents were Rand supporting libertarian, whatever. They got the Objectivist Newsletter, which is her sort of media empire. I even noted in the book that I had has a ad for the Objectivist Newsletter. We had a whole shelf full of these growing up. I read a lot of them.

I did not know I would end up being an English professor. Coming back to the novel after being steeped in literature, I was surprised at how much my training in literary criticism, in high theory, Foucault, Derrida, Girard and all these things allowed me to see some things that I saw beforehand. To put a name to it, the sort of free indirect discourse even, the ways that you had said in the train, the ways that every word that came out of everybody's mouth was an instantiation of that person's philosophy and values.

There's a remarkable consistency in being able to do that with the minor characters, with the major characters. We don't know some of the crazy people that are around Stadler, and there all those sort of Tinky Holloway, there's these weird people that just say things that are Dickensian, that they don't exist as characters.

Anybody with good speaking, with enough presence, the consistency that everything that they say, you believe they said, and that everything said will tell you something about that character. There's nothing unreal. Weird and metal is unreal, right?

Henry: It's a sci-fi novel. Yes.

Hollis: Yes, it's a sci-fi novel. She takes pains to understand the radio waves and how it is that Galt is able to do certain things, that it's not too sci-fi, it's believable enough. The other thing is I hadn't spent enough time on the end and the fact that the world is going to hell. When you look at the 1960s disaster novels, even such as like Planet of the Apes, you could imagine Atlas Shrugged being a prequel.

Henry: Yes. Totally.

Hollis: You can see when the world went to pot, when you have these dystopian post-nuclear whatever. What happened? You can imagine picking up Ayn Rand and says, "Well, this is how we got to this point." I see it fitting into the network of so many things that I had read that my irritation, that it isn't taken seriously in the academy is greater than it has ever been. Which is to say, there are really-- This book, Feminist Interpretations of Ayn Rand is fine. There's a nice bit by Camille Paglia, who also said she didn't read it until late in life when everybody kept comparing her to Rand, and she's like, "Okay, I'm going to read it." She said one of her critiques is that Rand doesn't have any sense of humor. I'm like, "No, actually, it's really funny. There are some really funny bits. She could have more."

I think I came away agreeing that it is a good and worthy novel, that it's gotten a bad rap. I would say that about Uncle Tom's Cabin, too, which Langston Hughes famously said is the most cussed and discussed novel of all time. We could say that about Atlas Shrugged. You've got the bigger platform, I would urge your readers to pick it up.

Henry: Yes, it's definitely worth, you should be curious about it, for sure. Hollis, thank you for suggesting this. Thank you for getting me to read it, and thank you for a great conversation.

Hollis: Thank you for a great conversation. I suspected we weren't going to just go for an hour, so this is great.

Henry: It's Ayn Rand, how can we only go for one hour?

Hollis: No, I'm really glad. I don't think I could have imagined a better interlocutor as a first reader of this novel, because you're very generous as a person and as an intellect, and to be able to say candidly what the flaws are at the same time having arguments. We should make sure we keep our text exchanges about Jim Taggart and Cherryl.

Henry: Oh, that's true. Those were fun, I liked that, yes.

Hollis: Thank you.

Henry: Okay, let's do this again sometime.

Hollis: Indeed.

Henry: All right. Thanks, Hollis.

Hollis: Thank you.

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe