 Her relationship to the feminist movement, however, was more complex. Although she praised Betty Friedan’s The Feminine Mystique, mainstream feminism’s collectivism and emphasis on women as victims later led her to reject feminism as such. Many theorists argue that Rand’s work, especially Atlas Shrugged, upholds important feminist ideals, even as it succumbs to some anti-feminist tendencies that contradict her individualistic ethics (e.g., Gladstein 1978, 1999; B. Branden 1999; Presley 1999; Sheaffer 1999; Taylor 1999). Many others regard her and her work as plainly anti-feminist, with Susan Brownmiller even calling her “a traitor to her own sex” (Brownmiller 1975). One criticism takes aim at the individualism of Rand’s ethics and politics, which rejects any special government help for women or discrimination against men (e.g., Harrison 1978). Another objects that Rand has internalized a masculine conception of human nature and virtue, and then created her ideal woman in light of this conception (Brownmiller 1975; Glennon 1979). This may be responsible for Rand’s puzzling (and offensive) view that the essence of femininity is to hero-worship (not men, but) masculinity, while insisting (as her novels depict) that women and men are inherently equal and that the ideal romantic relationship is between moral and intellectual equals (1968b; cf. Brown 1999). At least as offensive to many are the violent sex scenes in her novels, especially the infamous scene in The Fountainhead that many regard as rape, where Howard Roark has sex with Dominique in spite of her resistance.