 Rand’s ideal human being appears, in varying degrees of development, in all her novels; her ideal world appears in Atlas Shrugged. Her novels feature striking, complex plots with subtle psychological explorations of her characters’ emotions and thoughts, and philosophical reflections that rarely lose sight of the dramatic context. Like many famous Russian novelists, especially Dostoevsky, whom she recognized as a great psychologist, Rand also uses long speeches to lay out her philosophy, a device that has both its supporters and its detractors. She described Atlas Shrugged as a “stunt novel” and a murder mystery—the murder of the human soul by a collectivist culture. By “soul”, however, she meant not an immortal substance that survives the death of the body—she is not a dualist in any aspect of her philosophy—but the mind, or the human spirit that celebrates life on this earth. She took a familiar phenomenon and literary trope—a workers’ strike—and turned it on its head to show what happens when “the men of mind”—scientists, philosophers, industrialists, entrepreneurs, writers—the “prime movers” of a society—go on strike. It also purports to show how the wrong metaphysics can lead to the wrong ethics and thus to disastrous personal choices and a disastrous political and economic system, and how the right philosophy is needed for the rebirth of the soul and the rebuilding of the world. Her protagonists are not knights on white steeds rescuing damsels in distress, or swordsmen who can fight off a dozen enemies single-handed, but men and women in the mid-20th century industrial America of steel mills, skyscrapers, and glimmering highways: women who run transcontinental railroads and men who revolutionize architecture or (long before clean energy became a cause célèbre) build a motor powered by static electricity to produce limitless, clean energy. Her novels show the importance of striving to be the best we can be: