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The inclusion of Branden’s lecture and question-answer session in this collection gives him a voice in his own commemoration.  Published here for the first time, and transcribed by Roger Bissell, the lecture was given to the California Institute for Applied Objectivism in 1996. Its tenor can be gleaned from the opening paragraph in which Branden compliments his audience for being “dedicated to the broad philosophical ideas of Objectivism, but not in a religiously constricted and independent-thinking-discouraging way.” Here Branden echoes his implicit criticism of the ARI camp. Debates between the Branden-ARI factions go beyond the personal disagreements between Branden and Rand to a broader philosophical question: is it better, at the outset of an intellectual movement, to insist upon the purity of a set of ideas at the expense of its slower adoption or to engage in an open dialogue that allows for give-and-take? This is not a subject that can be answered by labeling either side as “religionists” or “compromisers.” It’s a unique problem elevated to historical significance by the profundity and uniqueness of Objectivism. If...
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Over three decades ago, in 1982, I booked a private telephone consultation with an Objectivist philosopher (associated now with the Ayn Rand Institute) on reading The Romantic Manifesto, Ayn Rand’s classic non-fiction work on aesthetics. At 24, I was both an artist and an Objectivist.  A fine art major; I had taken several art history classes including contemporary art theory. At the time, I had just completed the painting Promethia, and even though it was a thematic work, I didn't understand how one objectively identifies a theme of an artwork. With that in mind, I was excited to be mentored by an Objectivist philosopher. In our consultation, he pointed to Willem Kalf's still life painting in the classic art history book, Gardner's Art Through the Ages. “How do I discover the theme?” I asked, genuinely. “The theme of this painting is malevolent because of the dark background!" was the swift and vociferous response. This was “obvious” -- i.e. self-evident -- he said.  No further reasoning or discussion was necessary. I ended the session and never consulted him again. Alas, I had yet to learn how themes work in painting. So I returned to what Ayn Rand herself had written. In the Romantic Manifesto...
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Recently I was invited by the esteemed author, economist, and professor Mark Skousen, to teach his business school class at Chapman University -- the topic: John Allison’s excellent book, The Leadership Crisis and the Free Market Cure. The class was part of Skousen’s course on “Libertarian CEOs.”  These include not just Allison, but also John Mackey of Whole Foods and Bill Bonner of Agora. All three of whom shared the stage with me in a panel moderated by Skousen at last year’s FreedomFest, the largest gathering of libertarians in the world. Mackey and Bonner are not Ayn Rand fans, but hey, nobody’s perfect.  John Allison and I are not just Ayn Rand fans, we subscribe to Rand’s philosophy, Objectivism, and have practiced its principles throughout our lives and careers. John Allison was CEO of Branch Banking & Trust from 1986 to 2008 and during that time built the...
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There was a time, when Ayn Rand’s new essays came out monthly and, as often as not, mentioned or enthusiastically recommended some writer or specific book, that her readers immediately tracked down every work by that writer. Mickey Spillane, Donald Hamilton, Ira Levin, Ian Fleming, and dozens more were added to the Objectivist canon as recommended reading. In fact, sometimes the only lead was the appearance of a new book for sale by the Nathaniel Branden Institute bookstore. I once ordered almost two dozen to be shipped to me at Brown University, where I was a sophomore. I am virtually certain that that did not happen in the case of the Polish Romantic novelist, Henryk Sienkiewicz (1846-1916). In her essay, “Bootleg Romanticism,” available in The Romantic Manifesto, Ayn Rand promoted Sienkiewicz to the Pantheon: The (implicit) standards of Romanticism are so demanding that in spite of the abundance of Romantic writers at the time of its dominance, this school has produced very few pure, consistent Romanticists of the top rank. Among novelists, the greatest are Victor Hugo...
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Because it is so titillating and provocative, Brown’s piece on Branden’s sexuality is the most memorable part of the opening section. Even its title—“Nathaniel Branden’s Oedipus Complex”—invites controversy. Brown is concerned with Branden’s memoir, Judgment Day: My Years with Ayn Rand. “I am,” she submits, “primarily interested in the narrative truth that Branden himself has constructed and how it lends itself to an oedipal interpretation.” Although Branden was a psychologist, or perhaps because he was one, Brown’s invocation of Freud seems both fitting and surprising. Freud, like Branden and Rand, was educated in philosophy. But Freud’s oedipal theories remain divisive and contested, not to mention opposed by both Branden and Rand. At least since Richard Webster’s publication of Why Freud Was Wrong in 1995, and probably much earlier, consensus among psychologists has held that Freud’s theories, many of them anyway, have been discredited. Yet Brown gives them full and unequivocal expression in her treatment of Branden. Having left behind the...

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