
The year 2005 marks Ayn Rand's Centennial Year.The astounding story of a man that said that he would stop the motor of the world-and did. Tremendous in scope, breathtaking in its suspense, Atlas Shrugged is unlike any other book you have ever read.“A writer of great power. She has a subtle and ingenious mind and the capacity of writing brilliantly, beautifully, bitterly.”-The New York Times
Some are simply such a nice world (and indeed writing style) that they don’t even really need a Volta. I had that with the Commonwealth Saga by Hamilton. I just wanted it to go on and on (and it does for >2400 pages). (I was sadly disappointed by the follow-ups which are much less "sci"). Same with the Bobiverse books, eagerly awaiting part 6, although I still want to be in that world, it also feels like it should come to some beautiful end before dragging on too long...
At work I'm currently trying to read SF light novels from the turn of the millennium. I finished Murasaki no Qualia some time ago, and it's just as amazing as I remember the manga being when I read it as a teen. Right now I'm reading Iriya no Sora, UFO no Natsu. Sadly very few of these are translated. The Last and First Idol story collection is also a good read if you're interested in this genre.
You would be correct if that were the whole truth about Atlas Shrugged: defending protagonists on emotional grounds.
But it’s not the whole truth. The very monologue that you dismiss is the tool that provides the emotion with the principle. You know the characters’ reasons for holding their emotions.
Ayn Rand never said that one shouldn’t feel or express one’s emotions. On the contrary, “. . . emotions are not his enemies, they are his means of enjoying life” [1].
In fact, every emotional appeal used in the novel is supported by argument, sooner or later. You cannot say, for example, that the dismissal of James Taggart or Robert Stadler is purely emotional.
> The jarring transition reveals how the story was really just an afterthought
Your claim would be valid if the jarring transition were not Galt’s speech but some other nonfiction. The case is the opposite: the story and speech are very much integral.
The pause of events as such is a neutral tool, with precedents (The Battle of Waterloo in Les Miserables).
