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166<br />

WHO IS JOHN GALT? 1957–1968<br />

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craftsmanship, her insight into the dynamics of free markets. Students<br />

and younger readers thrilled to her heroic characters and were overjoyed<br />

to discover the comprehensive and consistent philosophy of<br />

Objectivism. The aftermath of the book’s publication taught Rand that<br />

she was truly on her own. Her path to intellectual prominence would<br />

not be typical, conventional, or easy. In retrospect, it seems obvious:<br />

Rand would do it her way.<br />

Taken at the level of a story, Atlas Shrugged is a moral fable about the<br />

evils of government interference in the free market. The novel is set<br />

in a dystopian world on the brink of ruin, due to years of liberal policymaking<br />

and leadership. The aggrandizing state has run amok and<br />

collectivism has triumphed across the globe. Rand’s decaying America<br />

resembles the Petrograd of her youth. The economy begins to crumble<br />

under the pressure of socialist policies, and food shortages, industrial<br />

accidents, and bankruptcies become commonplace. Gloom and dread<br />

pervade the country. Fatalistic and passive, citizens can only shrug<br />

and ask the empty question, a catchphrase of the novel, “Who is John<br />

Galt?”<br />

Rand shows us this world through the eyes of two primary characters,<br />

Dagny Taggart and Hank Rearden. Both are gifted and inventive<br />

business owners who struggle to keep their enterprises afl oat despite<br />

an ever-growing burden of government regulation. Starting off as business<br />

partners, the single Dagny and married Hank soon become lovers.<br />

Strong, handsome, and dynamic, Dagny and Hank contrast sharply<br />

with Rand’s villains, soft and paunchy government bureaucrats and corrupt<br />

business owners who seek favors from the politicians they have<br />

bought. Dagny and Hank’s enemies begin with laws that restrict competition,<br />

innovation, and cross-ownership of businesses, and by the end of<br />

the novel have nationalized railroads and the steel industry. In a detail<br />

reminiscent of Soviet show trials, when the government expropriates<br />

private property it forces the owners to sign a “gift certifi cate” framing<br />

the action as a patriotic donation.<br />

Rebelling against this strangulation by the state, the creative minds of<br />

America go “on strike,” and throughout the course of the story all competent<br />

individuals in every profession disappear. Until they are granted<br />

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