[This is a much more traditional review that what I usually write, so there will be considerable spoilers for The Fountainhead (and a few lesser ones for Atlas Shrugged and We The Living). Discussion of abuse and what constitutes consent. Additionally, Brandenite criticism of Rand’s writing style.]
To date, I haven’t found a good longform introduction to Objectivism, so I’m forced to recommend Atlas Shrugged for those wanting a comprehensive introduction.
That said, I found reading The Fountainhead very instructive on the finer details of what a selfish life actually looks like. Atlas Shrugged addresses those questions, but does so subtly. Many readers (including my younger self) end up overlooking them. Sometimes it’s just better to say what you mean.
The Fountainhead contrasts the life of a genuine individualist, Howard Roark, with that of several non-individualists. Roark is an architect, who worked his way through three years of college before being expelled for insubordination. He goes to work for Henry Cameron, a disgraced builder whose modernist style and blunt attitude eventually destroyed his practice.
One of Roark’s classmates is Peter Keating, whose mother paid his tuition, in part by running the boarding house where Roark lived. Peter is vain and full-of-himself, the sort of person one might call an individualist—but Keating is a phony. Roark’s purpose in architecture is to design and construct buildings to his liking. Fame and fortune mean very little to him. Reputation will garner clients, and money allows him to stay in practice, but his ambition is entirely impersonal.
Keating has no ambition of his own. He doesn’t want to design buildings; he wants to be known as a great builder. He wants to be famous to the sake of fame and relishes every scrap of admiring attention. His only selfish goal is to marry a young girl named Katie, whom he met in school and whom he forgets about for months at a time. But spending time with her appears to be the only thing that makes him genuinely happy.
Alas, their relationship is not to be. Katie is supported by her uncle, Ellsworth Toohey, a public intellectual and “humanitarian”. Toohey steers their relationship to failure, not through outright opposition—oh no, he approves! He totally approves! Romantic love is old-fashioned, of course, but charming in its own way. And through such snide comments, sows the seeds of doubt in Keating’s vulnerable mind.
In Rand’s other books, there’s no explicit villain. Toohey is the exception: he is her idea of evil incarnate. Other antagonists are weak, incoherent. They don’t fully realize where their ideas lead. Toohey knows exactly what he’s doing. The only other possible example is Fred Kinnan, a union boss in Atlas Shrugged, but unlike Toohey, Kinnan doesn’t lead the charge.
With full intention and awareness, Toohey is trying to stunt the intellectual growth of any person with potential, for the sole purpose of gaining power over them. After years of abuse, Toohey completely destroys what small shadow of self ever existed in poor Keating. The once-famous architect lies dependent at Toohey’s feet, and listens as he hears precisely how he’s been broken.
No such person exists in reality. Rand knew this, of course—there’s no one person singlehandedly destroying the modern world, or else a Steven Mallory might succeed. But there isn’t, so one couldn’t.
Steven Mallory is a sculptor, who takes a shot at Toohey and misses. Toohey must have known what that meant, because he defended Mallory at the trial. He refuses, he says, “to be an accomplice in the manufacturing of martyrs.” A martyr would have been much more dangerous than a poor, struggling artist.
Mallory is struggling, much the same way that Roark struggles for self-sufficiency in the building industry. After Henry Cameron’s physical and financial health force him into retirement, Roark accepts Keating’s offer to work under him at the firm Francon & Heyer. Roark insists on doing purely structural work, because of his philosophical disagreements on style. But one day, a client asks Francon to do a building in Cameron’s style, and Francon suggests Roark take a stab at it. But not purely in Cameron’s style, of course—the firm has a reputation to maintain, and unflinching modernism doesn’t serve that end.
Roark refuses to compromise his artistic integrity, and gets fired. For months, he tries to find another draftsman job, eventually securing employment with the eclectic John Erik Snyte. Unlike most of the other architects in New York, Snyte has no stylistic preference: he’ll build anything, but it will be terrible. Roark was allowed to design buildings with integrity, which Snyte then remixed with features from his other draftsmen’s proposals.
That comes to a change, when Mr. Austen Heller, a notable writer, decides to build a country home. Heller had already rejected several other firms for the commission. He has a site selected and a basic notion of what he wants built, but can’t articulate exactly what he’s looking for. Snyte, desperate to get the commission, tells his draftsmen to spare no effort in getting the design right.
Roark’s design “wins”—it’s the base which Snyte adapts to make a “respectable” structure. Heller is shocked. It’s so close, he says, but not there. It’s not integrated.
Those words are a hint. Roark snatches the fancy watercolor from the stand and goes to work on it, penciling the original design over Snyte’s chimera. Snyte fires Roark, and Heller hires Roark, on the spot. Thereafter he is an independent architect. A few commissions follow, before money and public interest runs out. Roark doesn’t play the socialite’s game, which is the primary way of garnering clients. Moreover, he refuses to build in historical styles, which loses many of the trickle that comes his way.
He’s forced to leave the business for a time, working as a manual laborer until he’s tracked down by Roger Enright, an entrepreneur who wants to build a luxury apartment building. Roark returns to New York and resumes work, gaining more impressive commissions as his name and style reach the wider public. And Ellsworth Toohey.
Toohey realizes Roark constitutes a threat to his program, and sets out to destroy him. He decides to make Roark really famous. One of Toohey’s many intellectual conquests is an old, superstitious businessman named Hopton Stoddard. Toohey needs Stoddard’s wealth to build a charity home, but Stoddard, fearing the afterlife, wants to erect an ecumenical temple instead. Toohey suddenly reverses his position—provided Roark is the architect.
Stoddard quickly agrees. Roark is skeptical, because Stoddard is the exact opposite of the sort of person he’ll get along with. But Stoddard insists that Roark build a temple to the human spirit, in his style. Roark can’t force himself to say no, even though it feels fishy.
The plan calls for a statue, and Roark choses Mallory to sculpt it. They’ve never met before, and Roark has a difficult time getting ahold of him. It turns out that Mallory admires Roark’s buildings, and doesn’t want to spoil them by meeting the man. Artists always disappoint him, Mallory explains, because they never live up to their works.
Of course, Roark does live up to his buildings, but Mallory provides another interesting foil. Roark goes through life without being hurt by the world’s senselessness, but Mallory is hurt by it. Mallory is a weak and sympathetic Randian protagonist, perhaps akin to Eddie Willers in Atlas Shrugged.
Nathaniel Branden commented on Roark’s character as such:
In preparation for this presentation, I re-read the opening chapter of The Fountainhead. It really is a great book. I noticed something in the first chapter I never noticed before. Consider these facts: The hero has just been expelled from school, he is the victim of injustice, he is misunderstood by virtually everyone, and he himself tends to find other people puzzling and incomprehensible. He is alone; he has no friends. There is no one with whom he can share his inner life or values. So far, with the possible exception of being expelled from school, this could be a fairly accurate description of the state of the overwhelming majority of adolescents. There is one big difference: Howard Roark gives no indication of being bothered by any of it. He is serenely happy within himself. For average teenagers, this condition is agony. They read The Fountainhead and see this condition, not as a problem to be solved, but as a condition they must learn to be happy about — as Roark is. All done without drugs! What a wish-fulfillment that would be! What a dream come true! Don’t bother learning to understand anyone. Don’t bother working at making yourself better understood. Don’t try to see whether you can close the gap of your alienation from others, at least from some others, just struggle for Roark’s serenity — which Rand never tells you how to achieve. This is an example of how The Fountainhead could be at once a source of great inspiration and a source of great guilt, for all those who do not know how to reach Roark’s state.
Mallory doesn’t display the same easy bliss, even down to the drugs (he’s pretty drunk when Roark finally tracks him down). I maintain that minor characters make Rand’s work, yet Branden is making a very important criticism. The Fountainhead leaves out a lot of the instructions, beyond “find someone who’s happy and rational who can give you emotional support”. That’s not exactly easy for the sort of person who’ll identify with Objectivism to begin with.
Steven Mallory is an excellent character, and it’s sad that he doesn’t get more time on-page, but the fact is that the story is still Roark’s. Too bad Ayn Rand didn’t ghostwrite fan fiction. I’d read the hell out of that.
Where were we? Oh right, the Hopton Stoddard Temple of the Human Spirit. Roark wants to include a statue, a disrobed woman, as its centerpiece. He leaves the choice of model up to Mallory, but makes a suggestion: Dominique Francon.
(I knew I was temporizing for a reason.)
Dominique Francon is an editorialist at the same newspaper which employs Ellsworth Toohey, the New York Banner, and is also the only daughter of Guy Francon, Keating’s boss. Mr. Francon owns a granite quarry in Connecticut, where Roark ends up working for several months before the Enright House is constructed.
During that same summer, Dominique takes a vacation from the paper at her family’s house on the same premises. One day she decides to go down and look at the quarry, because the men will be suffering down there and she has a thing for that. Among the various men at work is Roark, with whom she exchanges Meaningful Glances™ and a few words.
Seen here: a Meaningful Glance™
She comes up with a pretext to invite him to her house for some manual labor (replacing a tile she’d scratched for that very purpose). Roark agrees, states that the tile clearly isn’t damaged, breaks it properly, removes it, and has the appropriate replacement ordered. When it arrives, he sends one of his coworkers to install it. Dominique confronts Roark about this, and he replies that surely it didn’t matter which of her father’s manual laborers did the work.
At this point, it’s time for that discussion of consent I warned you about above.
Roark comes to Dominique’s house the next night and has very rough sex with her. Dominique later describes this as rape, though Ayn Rand insisted that, if their first time was rape, it was “rape by engraved invitation” and condemned the crime outside of fiction.
In the context of the novel, however, both characters are blessed by authorial omniscience. Dominique wanted to sleep with Roark, and he knew it. Meaningful Glances™ may be sufficient to communicate consent in books, but certainly aren’t in the real world. I think Ayn Rand would have readily acknowledge that, but most of her critics wouldn’t acknowledge that she’d acknowledge that.
Roger Enright calls Roark back to New York almost immediately thereafter, which complicates how their relationship might develop. Dominique is clearly conflicted. She considers leaving her job at the newspaper, but decides against it, because quitting would be too easy. She only knows Roark by the nickname “Red”, and figures she’s unlikely to ever encounter him again.
That isn’t the case.
When images of the Enright House reach print, Dominique admires them, but refuses to write about the building. She tells Toohey that “[a] man who can conceive a thing as beautiful as this should never allow it to be erected” and that writing about it “would be repeating the crime.”
Roark, meanwhile, is rebuilding his practice. In addition to the Enright House, he’s approached with another offer. Austin Heller insists that Roark come with him to a party hosted by Kiki Holcombe, the wife of the Ralston Holcombe, the president of the Architect’s Guild of America. Attending her party would help secure the commission, because the man in question is the socialite type. Roark doesn’t plan to go, but changes his mind upon hearing Dominique will be there.
Heller introduces them and they carry on a very polite conversation, even after Heller is pulled away. Once the conversation ends, Dominique and Toohey both watch him intently, but with opposing purposes.
The public doesn’t realize that. Both excoriate Roark in print, Dominique loudly and Toohey quietly. Or at least, it looks that way. Dominique’s articles appear, at first glance, like insults to Roark’s buildings, but a closer reading shows that they’re actually insulting the surrounding city, because the city isn’t good enough for the buildings.
To the public eye, Dominique Francon has a feud with Howard Roark. She actively seeks out his clients and tries to dissuade them, usually convincing them to hire Peter Keating. Then, on those nights when she’s taken away a commission, she goes to sleep with Howard Roark.
Objectivist scholars can probably express this more clearly, but the general idea here is that Dominique loves Roark and all the things he represents, but doesn’t believe they can exist in the real world, so does her best to destroy them quickly and thoroughly. Rand doesn’t agree with this supposition, but it certainly makes for an interesting relationship dynamic.
No one knows that Dominique is Roark’s mistress, and it shocks everyone when she agrees to pose for the Stoddard Temple statue.
Roark, Mallory, and Dominique spend a pleasant year working on the temple and statue, with additionally company from Mike, an electrician whom Roark has been friends with since he worked for Francon & Heyer. Mike manages to work on almost every structure Roark builds and helped get him the job in the granite quarry.
Things come to a sudden end when Hopton Stoddard arrives in New York after his year-long vacation. He had visited dozens of religious monuments around the world, and expected something similarly dramatic. What he found was, well, exactly what it said on the tin—not a monument to God or spirits, but to mankind. Roark’s Hopton Stoddard Temple of the Human Spirit is not at all what he was expecting, and Toohey easily manipulates Stoddard into suing.
The prosecution calls dozens of witnesses, with Dominique as their pièce de résistance. She makes one of her typical ambiguous statements, which defends Roark while sounding like an attack.
Roark calls no witnesses and asks no questions. When the time comes, he lays out ten photographs of the Stoddard Temple and says, “[t]he defense rests.” Unsurprisingly, this does not win the case.
Dominque feels terrible about her role in the trial, but also treats it as sort of a victory condition. (This isn’t an entirely incorrect conclusion: Roark builds nothing in New York for the next several years; his firm survives on commissions elsewhere.) She intentionally gets herself fired from the newspaper and offers to marry Peter Keating. She hates Keating and sees this as a form of punishment, but endeavors to be a dutiful society wife. Unfortunately, though, he had finally promised to marry Katie that same day. Keating’s desire for social approval thus destroys his last chance for real happiness.
Katie goes on to be the director of children’s occupational therapy at the Hopton Stoddard Home for Subnormal Children.
Less than two years later, Keating finds himself dreadfully unhappy. His standing as an architect is diminishing without Dominique’s activism, and the Great Depression arrived just in time to make things that much worse. His marriage is equally unhappy—Dominique has managed to suppress her entire personality, and in a stunning turn of events it’s better to have a person for your spouse than a cardboard cutout. Even sex with her, which he’d once wanted, brings no pleasure. Dominique was once unresponsive to his advances, then disgusted after meeting Roark, and then quickly returns to complete indifference after their marriage.
Ellsworth Toohey is aware of all this, naturally, and has a terrible idea. Enter Gail Wynand, the megalomaniacal owner of the New York Banner.
Wynand has a reputation for impulsiveness and a temper, but is a skilled business executive. His papers lead all sorts of crusades in print, and his real estate empire spreads across the country. He clawed his way up from a street gang in Hell’s Kitchen to be one of the most powerful people in New York.
Wynand is in his fifties. He’s never been married and doesn’t keep lovers very long. Everything about his life is public—even his penthouse apartment has glass walls. (He tells his mistresses that they’re fornicating in the view of six million people.) His only private pleasure is an art gallery he keeps on the floor below. No visitors are allowed, and no one would dare take the risk of suggesting an addition.
I thought Gail Wynand’s actor looked familiar. It’s Raymond Massey, who played Oswald Cabal in Things to Come.
Stoneridge is the latest addition to Wynand’s real estate empire. An architect hasn’t been chosen, and dozens are literally begging for the opportunity as the Depression starves the profession. Wynand refuses to listen to their pleas—he probably enjoys the feeling of power and control. Ellsworth Toohey meets with his employer and tries to get Keating the commission, but realizes that Wynand isn’t interested. Instead, he suggests Gail meet with Mrs. Peter Keating. Wynand still isn’t interested. Toohey tells him that he’ll be sending a package to Wynand’s apartment which might change his mind.
Wynand completely forgets about the exchange, that night, as he deals with sudden suicidal thoughts. We’re given a complete run-down of his life as he decides whether to end it. Then, wandering his penthouse, he notices Toohey’s package. It’s quite a bit larger than expected, too big to be simple blackmail. He opens it, then calls Toohey and tells him to come over, very late at night.
The package was Steven Mallory’s statue of Dominique, which Toohey obtained during the renovation of the Stoddard Temple.
Wynand is skeptical, and cares more about the artist than the model. The artist is great, he insists, because there’s no way a real woman is that beautiful. The statue and a number of Mallory’s other works will soon enter his private collection. But he agrees to meet with Mrs. Peter Keating.
Toohey arranges the meeting, interrupting a conversation where Peter almost comes to terms with his decades of self-abnegation. It’s not to be—Toohey is too vicious for personal development to last. Keating agrees to let Dominique take a two-month cruise with Wynand, in exchange for Stoneridge.
Gail and Dominique return after a week. Keating will get Stoneridge, but Wynand has decided that he wants to marry Dominique. She is perfectly willing to agree, and Keating begrudgingly allows it. He ultimately cares more about his public prestige than any impersonal principle like fidelity.
Dominque heads to Reno. On the way she visits Howard Roark, who’s building a department store in Ohio. She asks Roark to abandon architecture, she won’t go to Wynand, and they’ll live a quiet life in a quiet town. Roark refuses: she wouldn’t love him if it wasn’t for his integrity and moral stature, embodied in physical buildings. Roark qua Roark is an architect. She found him attractive in the quarry, but she couldn’t love him till she knew he built the Enright House.
I think this elides the possibility of expressing one’s creativity through different outlets, but the general point stands. One of the major themes of The Fountainhead is that we should pursue our happiness no matter how shitty the rest of the world choses to be. After overcoming the serene indifference of her youth, Dominique’s whole struggle is to not hate the rest of the world for existing around Roark.
This is probably a good time to bring up the fact that Rand didn’t really write symbolic female characters. At least, main characters. Minor female characters are frequently symbolic, but the same is true for minor male characters. Dominique was conceived as a “woman for a man like Howard Roark”, but her journey is significant in its own right. I suspect there may have been a few autobiographical details there, though We The Living probably has more.
(In Atlas Shrugged the woman is primarily real, and the man is primarily a symbol, but that’s a deeper analysis than my review got into.)
Ultimately, Dominique goes to Reno, and returns to New York. Gail had wanted a private ceremony, but she insists making it a public event. Their marriage and its consummation have to wait another week as things are organized. The story is given two sentences in the society pages of the Wynand papers.
They enjoy a long honeymoon in Gail’s penthouse, which now features an enclosed bedroom. He doesn’t want to share Dominique with the world—one of the first legitimately selfish decisions of his life. After a few years, he decides he wants to build a country home, essentially to take Dominique out of the city entirely.
He chooses Howard Roark as the architect.
Wynand papers were the loudest voices in the crusade against the Stoddard Temple. Gail simply forgot about this—it was several years past and he was not particularly attached to the paper’s editorial policy. The Banner may appear to lead public opinion, but in practice follows. Near the day of his retirement, Henry Cameron cursed the perverse phenomena that allow the Wynand papers to exist and continue existing. He didn’t know what to call it. Howard Roark does: second-hand living.
Gail Wynand has lived his entire life as a second-hander. His marriage to Dominique is the exception. He chooses Roark to build a home for them, because he saw a number of Roark’s other buildings, and liked them. That same pattern kept Roark afloat following the Temple case, even allowing him to expand his practice.
Two years before, he had been building Monadnock Valley, an affordable resort in Pennsylvania. Roark got the commission, because the owners were pulling a fraud. They sold 200% of the stock and wanted the resort to fail. But their plan is what failed, because Roark designed something so good it succeeded without an advertising budget. Monadnock Valley was the perfect place for an individual or family to take a quiet vacation, away from other people, on a middle-class budget.
Before the news could even break, however, Roark was finally called back to build in New York. A luxury hotel project off Central Park had faltered before the Stoddard Trial, but finally the finances and ownership had been sorted out, so construction resumed. The pace of work picks up, despite the Depression, and in 1936 he moves his offices to the top floor of the Cord Building, the first skyscraper he built.
Roark intends to refuse Gail’s commission, but changes his mind soon after the interview begins. Gail understands Roark’s approach and style. For his house, he wants exactly what Roark is able to provide.
After Roark leaves, Gail goes through the paper’s archives. He reads everything the Banner ever wrote about Howard Roark. A few days later, visiting the site, he confesses this to Roark, who doesn’t really care.
But Wynand has a dark secret, of sorts. A nasty habit. He likes to find men of integrity, and break them. It helps him feel better about having so little virtue of his own. By this point in the book, he’s already told Dominique that the man he can’t break will destroy him.
At their next meeting, Wynand seems like a different man. He makes Roark an offer: build the house as designed, and from then on work in the traditional styles that Roark hates—or refuse, and Wynand will see that Roark never works again.
Roark agrees, quickly sketches a Colonial parody of the Wynand house, and asks if that’s what he wanted. Gail involuntarily says “Good God, no!” and that’s pretty much the end of that.
This is not so much foreshadowing as laying out the ending to see who will notice. I’ll admit: the first time I read The Fountainhead, I didn’t, but that was a long time ago. Maybe older readers will catch that on the initial pass.
In either case, Roark becomes Gail’s friend. He’s a frequent guest at the penthouse, and then later, the country home. Dominique is frustrated, but they maintain a completely professional persona with each other. Meanwhile, the Wynand papers start to plug Howard Roark. Gail forbids Toohey to write about Roark in his column, and regularly thinks of Roark to get through the day. Among other things, he has a photograph taken from the paper enlarged and placed on his office wall.
60th Anniversary cover by Nick Gaetano.
Roark’s practice is better than ever, but Peter Keating’s career is still waning. After Lucius N. Heyer died (more-or-less at Keating’s hands), Peter was promoted to a full partner in the firm. Then Guy Francon retired, so Francon & Keating became Keating & Dumont (he brought up the head draftsman, because that’s just what’s done). But business is bad. He’s not the it-boy anymore, and Toohey has started championing a pair on younger architects: Gus Webb and Gordon L. Prescott. The firm is rapidly contracting.
His last real hope is the contract to build Cortlandt Homes, a federal housing project in Queens. He doesn’t have much hope of getting it, but the government hasn’t been able to find an architect who can meet their exacting specifications. Keating goes to Toohey and begs for the option. Toohey tentatively agrees: if he can design it, it’s his.
Keating takes the requirements and spends many hours working on the problem. He’s forced to admit the truth: he can’t. He doesn’t admit defeat. He calls Howard Roark.
We’ve seen Keating do this before. His first house for Francon & Heyer was essentially designed by Roark. His most famous building, which won a competition for the “most beautiful building in the world”, had a floorplan devised by Roark. In conversation about Cortlandt, Keating mentions that Roark helped with a lot of Peter’s assignments at school.
Why does Roark, who cares so much about integrity, help Peter cheat? That answer is simple: these are buildings, and Roark can save them. Keating will cover them with all sorts of terrible, unnecessary ornamentation, because that’s the fashion, but the design, floorplan, and function are all massively improved. Dark, contorted hallways become straight passages, space for entire rooms appears on the blueprints. None of this business with bedroom windows facing the superfluous columns of the façade, the sort of thing Keating once made himself ignore.
Roark doesn’t ignore them, because his goal isn’t to impress. Roark tells Keating that, sure, he could talk about the desperate need for affordable housing in New York’s middle class (a conversation which would only sound strange today because NIMBYism has priced out the middle class from the big cities). He could talk about their struggles and the misfortunes of the future tenants.
But that isn’t why he takes the job. Roark agrees to build Cortlandt and let Keating take the credit, because he’ll love the challenge.
He completes Cortlandt, makes it work in-budget and with lower rents than initially anticipated. This works, in part because he rejects many of the paradigms that hamstrung earlier attempts. Tenants are given privacy and expense isn’t wasted on communal spaces. There’s schools and a YMCA nearby, which should provide adequate opportunities for socialization and exercise.
Roark makes no attempt to disguise his handiwork, but most people are perfectly willing to believe Keating & Dumont designed Cortlandt. Gail and Dominique see right through it.
The flow of this review may seem interrupted here, but that’s simply because I’m forced to leave a few things out if I’m not to completely spoil the pleasure of reading. Let’s skip ahead a few pages to a particularly sad scene: when Peter runs into Katie on the street.
Keating is spending less time in the office, slipping over to Roark’s apartment each evening to get the latest sketches for the project. Roark is, perhaps, the only person who ever treated Peter as fully human. From the second chapter, when the two are alone, we see a side of Keating which is never apparent when he has an audience. Only in solitude can he be authentic, and only in solitude can he realize the extent of his own failure.
He reveals to Roark something he’d be hiding from everyone. He’s been dabbling in painting again—Peter wanted to be a painter, all along, but was pressured into architecture by his “doting” mother. But it’s largely too late. Painting isn’t a joy for him, he’s not good at it, it’s not even a relief from suffering. But during the weekend hours when he escapes to a shack in the country he feels vaguely happy.
This is how Roark discovers pity, and what a vile feeling it really is. He never felt this for anyone; not Henry Cameron, not Steven Mallory. Those people had hope and worth and demanded respect. Keating’s attempts at painting, don’t. To uphold pity as a virtue necessarily implies suffering and destruction, neither of which an individualist can accept. Roark hates it and all it implies.
And then Peter runs into Katie. His other aborted ambition appears before him before, and it’s the same sort of ghost. Katie is now a social worker, on assignment to New York from Washington, D.C. He tries to carry on a conversation with her, but it’s largely hopeless. There’s no person left to converse with.
I bring this scene up, most notably, because one of the more frequently quote passages from the book deserves to be read in full:
“Katie . . . for six years . . . I thought about how I’d ask for your forgiveness some day. And now I have the chance, but I won’t ask it. It seems . . . it seems beside the point. I know it’s horrible to say that, but that’s how it seems to me. It was the worst thing I ever did in my life—but not because I hurt you. I did hurt you, Katie, and maybe more than you know yourself. But that’s not my worst guilt . . . Katie, I wanted to marry you. It was the only thing I ever really wanted. And that’s the sin that can’t be forgiven—that I hadn’t done what I wanted. It feels so dirty and pointless and monstrous, as one feels about insanity, because there’s no sense to it, no dignity, nothing but pain—and wasted pain. . . . Katie, why do they always teach us that it’s easy and evil to do what we want and that we need discipline to restrain ourselves? It’s the hardest thing in the world—to do what we want. And it takes the greatest kind of courage. I mean, what we really want. As I wanted to marry you. Not as I want to sleep with some woman or get drunk or get my name in the papers. Those things—they’re not even desires—they’re things people do to escape from desires—because it’s such a big responsibility, really to want something.”
Katie says that’s ugly and selfish. It’s certainly selfish, but it isn’t ugly. Ugliness isn’t an inherent trait of the world, nor is beauty. They only exist in the context of minds. Only by having a self can beauty mean anything at all.
Roark’s contribution to the Cortlandt project done, he leaves with Gail on a winter cruise. Keating will handle the construction while they’re away. The Wynand papers have been throwing work his way, and Gail finally realizes that Roark needs a vacation.
During their cruise, Roark spends a lot of time thinking. Gail has forbidden him from discussion of architecture, which proves to be no problem. There’s more abstract problems to be dealt with. Among them, is the philosophy of the second-hander.
The second-hander, Roark explains, derives all of his self-esteem from others’ perceptions of him. Peter Keating is brought up as the example, but I’m sure the reader can think of someone in their own life who knows themselves to be lacking on some measure, but tries to ignore the problem because they think that others are oblivious to it. Maybe you can even remember doing the same thing yourself.
Second-handers don’t make evaluations of their own. Their concern is what other people think, what other people feel, what other people expect. None of their ambitions are self-focused. They may want to be admired or noticed or liked—but by other people.
Now there may be selfish ends to that, like finding a lover or getting attention for your business. Similarly, there are plenty of selfish reasons for making money, Roark concedes, like traveling or study or simply enjoying luxury. But making money for the sake of status is worse than silly, it’s destructive. Trying to show off implies a self-assessment so low that you need to appeal outside your own mind for validation.
(Please don’t take this as an attack on those suffering from depression or mental illness. I’ve been there, I know how the mind can lie to itself. I will venture, however, that this irrationality ‘in the water supply’ doesn’t make combatting mental illness any easier.)
You can’t really reason with a second-hander, because there’s no ego to reason with. You have to change the minds of all their friends, and most of their minds haven’t an ego, either. Steven Mallory likens this to a brainless monster destroying the world. Henry Cameron could only point at the New York Banner. Gail is realizing his role in this and tries redeem it by plugging Howard Roark in print. For once, he feels genuinely proud of the newspaper.
When they return to New York, they see second-handing in the flesh.
Cortlandt Homes has been mutilated by bureaucrats, making dozens of needless changes to suit their preconceptions. Gus Webb and Gordon L. Prescott, who couldn’t create Cortlandt themselves, are brought on as “associate designers”. Their changes cost money, forcing further disruptions to keep the project in budget. (This is one reason public projects are always so expensive.)
Keating tried to fight them, but one man can’t argue with Mallory’s monster. It has no ears to hear, no eyes to see, no brains to think. It can only devour and destroy.
Keating goes to see Roark after he gets back from the cruise. Roark listens to him and apologizes for giving him more than he could handle, over all the years. Roark promises that, whatever he does, Peter won’t be his target.
Instead, two weeks later, long before the construction project is complete, he dynamites the site of Cortlandt Homes. He remains at the scene and allows himself to be arrested.
Gail Wynand is furious, and gets a judge out of bed so he can pay Roark’s bail before morning. To make matters worse, Roark enlisted Dominique’s help in ensuring that Cortlandt’s night watchman was out of the blast range. Dominique did a good job of making herself look hurt by the blast, too good, and spends several weeks in the hospital.
Gail sees right through the supposed alibi, but nevertheless offers Roark all possible help with his impending trial. Among other things, he commits the paper’s editorial policy to Roark’s defense. Circulation begins to fall. Protests are organized. Public opposition to the Banner reaches new heights.
Ellsworth Toohey decides to pay Peter Keating a visit.
Keating doesn’t participate in the mass furor. He writes a short article stating that he believes Roark is innocent, refused to talk to the press, and locks himself away in his room.
Toohey is let in, and almost immediately drops all pretense. He goads Keating, daring him to fight back physically, explaining exactly what he intends to do to Roark. Toohey knows Keating couldn’t have designed Cortlandt and wants to extract a confession. Keating resists for awhile, but after so many years of Toohey manipulations there’s very little resistance left. So close to obtaining some sort of redemption, he lets it slip through his hands. He hands over the contract he signed with Roark and then sits on the floor, listening, as Toohey states, in loving detail, his social and political goals: power over unthinking masses.
(Monologuing like that isn’t realistic, but it makes a hell of a story.)
Armed with evidence, Toohey writes about the case in his column. Wynand had explicitly forbidden him from doing so, and fires Toohey immediately. The union of Wynand employees, which Toohey had been putting together for years, walks out on strike. Quite a few non-members join them.
The strike wears on for two months. Readers and advertisers jump ship as Gail tries to keep the newspaper solvent. He rarely leaves the office. Dominique joins him after a few weeks. For the duration of their marriage he’d tried to keep her away from the Banner—some Mrs. Wynand-Papers—but he immediately gives her back her previous job. She becomes one of his few dependable employees. Most of the good ones quit, the remainder tend to be exhausted, and the new people he can hire are the lowest sort of riff-raff who can write.
It’s a losing battle. The newspaper’s assets and Wynand’s own fortune are running like water. But the strike was never about editorial policy. It was about Wynand’s soul.
For years, Gail Wynand had sold his soul to whoever would buy it. Selling your soul is easy, Roark told Peter Keating. Keeping your soul is much harder. Wynand wasn’t born a second-hander, but became one anyway. The newspaper was his life, but never represented his convictions. Before marrying Dominique, he had very few convictions to represent.
Defending Howard Roark against the mob was his attempt to absolve the decades of terrible actions behind him. It fails. The newspaper will either have to reverse policy, or accept financial failure. The board confronts Wynand with an ultimatum. Give in to the union’s demands, or close the paper. He accepts.
The scene after Wynand concedes is perhaps the saddest passage in all of Rand’s writing. Wandering the city at dusk, Gail contemplates the numerous decisions that led to the failure of his newspaper and its ultimate betrayal of his only friend. He sees bums on the street and recognizes his own soul. He sees trash and the merchandise of a pawn shop. “Hello, Gail Wynand,” he says.
He buys an evening copy of the Banner from a newsstand, and reads the editorial he didn’t write explaining the end of the strike. Later, he comes across an abandoned copy, with a shoe-print over Howard Roark’s face. He sees that he unleashed the proletarians to destroy greatness, that they were powerless without his cooperation. He looks around and realizes fully how much he has done to prevent his own happiness.
Kira bleeding on the snow, Eddie Willers sobbing as he tries to restart the Comet—I don’t think they stack up. They did their best and failed. Gail Wynand is the most tragic Randian character, because he could have, but didn’t.
Gail Wynand wasn’t born a second-hander.
Roark tries to contact Gail, to offer some sort of absolution to his friend, but Gail refuses to see him. He stays in New York and doesn’t visit Dominique in the country. He’s trying to wait it out.
Dominique is done waiting. Roark is spending the summer at Monadnock Valley, awaiting his trial. Dominique drives from Connecticut to join him there. The morning after she arrives, she calls the police to report the “theft” of an imaginary piece of jewelry that Roark supposedly gave to her, of trivial value to a multi-millionaire’s wife. It’s a one-bedroom house, she’s wearing Roark’s pajamas—it’s imminently clear where she slept the previous night. The story hits the papers immediately.
The Banner runs it, as news. Gail says nothing in particular, but allows his lawyer to initiate divorce proceedings. His most loyal assistant at the paper uses it to spin a story that Dominique forced Wynand to defend Roark in print, that he was somehow the victim.
Gail goes to see Dominique at their country house, where he calmly asks her about the details of her relationship with Roark. Dominique becomes frustrated:
He turned to leave.
“God damn you!” she cried. “If you can take it like this, you had no right to become what you became!”
“That’s why I’m taking it.”
He walked out the room. He closed the door softly.
The story builds circulation, as Dominique expected it would. It was her final attempt to help him. Wynand’s public reputation improves. And soon thereafter, Roark goes to trial.
Just as in the Stoddard Trial, Roark sits alone at the defense table. He takes no legal counsel, but he’s planning a different strategy this time.
His supporters sit together in a small cluster. Gail Wynand does not join them; he sits alone. Guy Francon, finally reconciled with his daughter, does. The prosecutor’s opening statement is interspersed with description of the room and the celebrities within it. Roark has chosen a tough jury—professionals, tradesmen, factory workers. The prosecution happily agreed.
The first day of testimony is largely factual: police, the night watchman, project superintendent, building inspectors. The next day opens with Peter Keating called to the stand. Keating mechanically explains that Roark designed Cortlandt. It’s not nearly as exciting as everyone expected. Keating’s testimony concludes the prosecution’s arguments.
Roark rises to the stand. He calls no witnesses, but instead explains the philosophical issues involved. He explains that he was willing to design Cortlandt for no reason beyond seeing it constructed, but it was not constructed in the manner he had been promised. The government got what it needed from him, but he was not given the payment he had expected. Productive, first-handed thinkers should rightfully be paid for their work, not enslaved by nonproductive second-handers. Dynamiting Cortlandt was Roark’s way of protecting that right, whether the law acknowledges it or not.
The full speech is worth reading, but is unfortunately too long to quote here. A compressed version was featured in the 1949 film adaptation, which is reasonably authoritative: Ayn Rand wrote the screenplay. I would strongly recommend watching it.
The jury leaves to deliberate. The audience expects a long recess. Before Roark can even be escorted from the courtroom, the jury returns. Roark is told to stand and face the jury. Gail Wynand stands, too. The foreman delivers the verdict: not guilty. Roark looks to Wynand. Gail turns and leaves the courtroom.
Cortlandt gets a happy ending: Roger Enright buys the site and hires Roark to construct the project as planned. But for Gail Wynand, not so much. His divorce is granted, and then the labor board rules in favor of Ellsworth Toohey. The Banner must reinstate him at his job.
Wynand informs Toohey that he expects him to come to work immediately. Toohey arrives and pretends to work, all while Wynand watches him from the office door. Toohey thinks the situation is absurd: one doesn’t start to work at nine p.m., on command.
The presses stop. Ellsworth Toohey is out of a job. Wynand is closing the Banner. It might seem like a dramatic way to win a fight, but really it’s so much more than that. The newspaper was his life for decades, but it was built on a rotten foundation. Roark’s trial was the last court of appeals. Roark won and the Banner lost. Closing the paper was the thematically logical choice.
It’s the personally logical choice, too. Gail has lost his wife and his one true friend. He’s lost all influence and self-esteem. It’s not unlikely that he’s lost the will to live. (In the screenplay, his suicide is made explicit.) He’s beginning to settle accounts.
A few months later he calls Roark to his office for the last time. All trace of intimacy is gone. He impersonally explains that he’s ready to begin a project they had previously discussed, the construction of a skyscraper in Hell’s Kitchen. The Wynand Building is to be the tallest building in New York and contain all of the remaining aspects of his media empire in the city. A large portion of his properties will be liquidated, so price is no object.
Roark’s philosophy of architecture was, in essence, to build monuments to the lives of his clients, and that is precisely what the Wynand Building was intended to be:
“I told you once that this building was to be a monument to my life. There is nothing left to commemorate now. The Wynand Building will have nothing—except what you give it.”
He rose to his feet, indicating that the interview was ended. Roark got up and inclined his head in parting. He held his head down a moment longer than a formal bow required.
At the door he stopped and turned. Wynand stood behind his desk without moving. They looked at each other.
“Build it as a monument to that spirit which is yours . . . and could have been mine.”
In the final scene of the novel, Dominique goes to visit Roark at the site of the Wynand Building, looking around the city as she rides the construction elevator up to the roof. She and Roark have gotten what they wanted, as have, presumably, their friends. Wynand hasn’t, of course, but his story was intentionally tragic. Ellsworth Toohey hasn’t be entirely vanquished, but following a clear statement of values, Rand likely expects the clash of believe systems to be concluded forth-with.
Or maybe not? In Roark’s speech, he describes collectivism taking over Europe. In the era he’s speaking, that would refer to both Communism and the various forms of Fascism. But The Fountainhead was published in 1943. Victory in World War II was by no means guaranteed, though America’s entry into the war certainly tilted the scales towards the liberal democracies. The conflict with communism lasted for another decade after Rand’s death.
The Fountainhead is a statement of values, but a largely-incomplete one. Almost immediately after publication, fans started demanding a nonfiction account of Rand’s philosophy. One such conversation provided the inspiration for Atlas Shrugged, which explored a lot of ideas in more detail. But Atlas Shrugged is even longer than The Fountainhead, so the latter tends to be the choice for casual readers. They frequently come away with a much more Nietzschean view than intended.
Rand attempts to combat this and other misconceptions in the 1968 introduction, but I don’t think it’s succeeded in that. A lot of people don’t read introductions, and a lot of those who do don’t read them closely. Minor edits to the text might have done a better job—swapping out “religious” for “moral” in Roark’s speech, and replacing almost every instance of “egotist” with “egoist”. There’s a big difference between the two. Roughly speaking, egotists sacrifice others to self, while egoists sacrifice no one to nobody. This is the crux of Objectivist individualism.
To get a clearer picture of Objectivism, including why it is so appealing to certain people, you really need to read both The Fountainhead and Atlas Shrugged. The latter describes why an individualist society would be desirable and the alternatives—not. It contains the themes of how to live as an upright individual, but that question is complicated. The Fountainhead details the many ways in which persons can destroy their own happiness in the name of iffy ideals.
Branden is correct, though, in claiming that both miss their mark. Rand’s fiction gestures in the direction of how to live a life without pain or fear or guilt while nevertheless causing a great deal of all three. These books should not be read uncritically. Contextually appropriate tactics will only lead to frustration and distress if applied generally. Unfortunately, Rand never succeeded in fully translating her philosophy to a language accessible and practicable to the weak and disadvantaged individuals who would benefit from it most.
This is not an essay about that particular topic. Allow me to state only one implication explicitly: by neglecting the neglected, an Objectivist is ceding that entire class of persons to other ideologies. This is perhaps not the best tactic if you want to create a productive, happy, and free society. I’m interested to see how well other writers in the Objectivist movement handle the issue as I continue to explore the wider literature.
However, my primary interest in The Fountainhead instead comes from the idea of second-handing. This is the critical bit that is easy to miss in Atlas Shrugged. Rational self-esteem cannot come from an outside assessment. Just look at the term! Esteem in other’s opinion is necessarily not self-esteem. Now one may ask a trusted individual for evidence on the question, but ultimately you need to track the chain of evaluation back to one’s own mind (if one wants to have any real confidence in their assessment). Rationality necessarily is an internal process.
On a related note: Objectivists take the terms selfish and selfless literally. A truly selfless person wouldn’t be much a person at all. Thankfully, humans do a poor job living up the altruists’ ideal!
The Fountainhead is hardly a universal antidote for selflessness, or even the best introduction to rational selfishness, but it does have the advantage of being an interesting story to read. For that reason, I might recommend it to those who want to learn more about egoism and can read with an open and inquisitive mind. I wouldn’t recommend it to a motivated skeptic. Anthem might be better, or another book I haven’t read at all. The Fountainhead should then be read after another book gets the basic point across.
Regardless of that, it’s still one of my favorites to read. And maybe the selfish pleasure of reading a good book is all it really takes.