Changes

But Branden did offer several criticisms that deserve attention. First, he suggested that ''Atlas Shrugged'', like ''The Fountainhead'' before it, encouraged emotional repression. Branden observed that those who served the cause of justice tended to "ruthlessly [set] their feelings aside," while those who served the cause of injustice "in effect, [dived] headlong into [their] feelings and emotions." Certainly the villains often accused the heroes ([[Dagny Taggart]] and [[Henry Rearden]]) and those of the anti-villains that they actually met ([[John Galt]] and [[Francisco d'Anconia]]) of behaving in an unfeeling manner. And by Rand's own account, she sought initially to show that reason was superior to emotion.<ref name=history/> But as Dagny explains to the ill-fated Cheryl Taggart, the heroes ''do'' feel a great many things. The problem is that much of what they appear to feel is contempt and loathing for their fellow man, when what they actually feel is indignation at the betrayal of their ideals by those in positions of authority, including some (like [[Robert Stadler]]) who should know better. Furthermore, what Branden called "repression" might in some cases have been a refusal to ''allow emotions to cloud sound judgment.''

But Branden did offer several criticisms that deserve attention. First, he suggested that ''Atlas Shrugged'', like ''The Fountainhead'' before it, encouraged emotional repression. Branden observed that those who served the cause of justice tended to "ruthlessly [set] their feelings aside," while those who served the cause of injustice "in effect, [dived] headlong into [their] feelings and emotions." Certainly the villains often accused the heroes ([[Dagny Taggart]] and [[Henry Rearden]]) and those of the anti-villains that they actually met ([[John Galt]] and [[Francisco d'Anconia]]) of behaving in an unfeeling manner. And by Rand's own account, she sought initially to show that reason was superior to emotion.<ref name=history/> But as Dagny explains to the ill-fated Cheryl Taggart, the heroes ''do'' feel a great many things. The problem is that much of what they appear to feel is contempt and loathing for their fellow man, when what they actually feel is indignation at the betrayal of their ideals by those in positions of authority, including some (like [[Robert Stadler]]) who should know better. Furthermore, what Branden called "repression" might in some cases have been a refusal to ''allow emotions to cloud sound judgment.''

Indeed at least one of the three anti-villains risks everything in order to satisfy an emotional urge. [[Ragnar Danneskjold]] actually comes ashore, and alone, to meet [[Henry Rearden]], on an almost irresistible impulse to bring comfort to someone to whom his society has done an egregious wrong. This is not the act of an emotionally repressed man, and in fact is an act of thoroughly bad judgment for which, one suspect, Danneskjold himself would discharge any officer or man among his crew. On the other hand, [[John Galt]] appears rather ruthless in his insistence to Dagny that, should she decide to remain a part of [[Galt's Gulch]], he will inform her of "every wreck,...every discontinued train,...every abandoned line," and the eventual collapse of the Taggart Bridge. "No one stays in this valley by faking reality in any manner whatever," he says. That Dagny would actually fall in love with a man who could behave so coldly to her says more about Dagny, and about Miss Rand herself (who, by her own admission, was Dagny Taggart's archetype<ref name=history/>), than about whether John Galt can truly be said to be more than a one-dimensional character. Thus, when Branden accuses Rand's heroes and anti-villains of being emotionally repressed and repressive, he actually is observing that her characters are one-dimensional, which is probably truer of John Galt than of any other character.

Indeed at least one of the three anti-villains risks everything in order to satisfy an emotional urge. [[Ragnar Danneskjold]] actually comes ashore, and alone, to meet [[Henry Rearden]], on an almost irresistible impulse to bring comfort to someone to whom his society has done an egregious wrong. This is not the act of an emotionally repressed man, and in fact is an act of thoroughly bad judgment for which, one suspects, Danneskjold himself would discharge any officer or man among his crew. On the other hand, [[John Galt]] appears rather ruthless in his insistence to Dagny that, should she decide to remain a part of [[Galt's Gulch]], he will inform her of "every wreck,...every discontinued train,...every abandoned line," and the eventual collapse of the Taggart Bridge. "No one stays in this valley by faking reality in any manner whatever," he says. That Dagny would actually fall in love with a man who could behave so coldly to her says more about Dagny, and about Miss Rand herself (who, by her own admission, was Dagny Taggart's archetype<ref name=history/>), than about whether John Galt can truly be said to be more than a one-dimensional character. Thus, when Branden accuses Rand's heroes and anti-villains of being emotionally repressed and repressive, he actually is observing that her characters are one-dimensional, which is probably truer of John Galt than of any other character.

Branden develops his criticism further, by observing that very often Rand's heroes and especially the anti-villains tend not to speak with one another on a simple human level, apart from a slavish attention to the philosophical implication of every thought, word, and action. For example, Branden noted that when Dagny Taggart discovers John Galt working as an unskilled laborer in the Terminal, the two of them have a brief tryst&mdash;and then immediately afterward, John Galt is talking like a philosopher again.{{cquote|I have reason to believe that Galt has a great many imitators around the country, and I also know that it is driving wives and girlfriends crazy!}}

Branden develops his criticism further, by observing that very often Rand's heroes and especially the anti-villains tend not to speak with one another on a simple human level, apart from a slavish attention to the philosophical implication of every thought, word, and action. For example, Branden noted that when Dagny Taggart discovers John Galt working as an unskilled laborer in the Terminal, the two of them have a brief tryst&mdash;and then immediately afterward, John Galt is talking like a philosopher again.{{cquote|I have reason to believe that Galt has a great many imitators around the country, and I also know that it is driving wives and girlfriends crazy!}}