The conversation between Henry Oliver and Hollis Robbins about Atlas Shrugged as a novel is excellent. I enjoyed especially the discussion of some of the minor characters and the meaning of their story arcs.
Hollis: 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.
Cherryl Taggart is 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.
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