The Fountainhead

by Ayn Rand

  Ellsworth Toohey made no announcement or explanation to anyone. He disregarded the friends who cried that he had sold himself. He simply went to work. He devoted "One Small Voice" to architecture--once a month. The rest of the time it was the voice of Ellsworth Toohey saying what he wished said--to syndicated millions.

  Toohey was the only Wynand employee who had a contract permitting him to write anything he pleased. He had insisted upon it. It was considered a great victory, by everybody except Ellsworth Toohey. He realized that it could mean one of two things: either Wynand had surrendered respectfully to the prestige of his name--or Wynand considered him too contemptible to be worth restraining.

  "One Small Voice" never seemed to say anything dangerously revolutionary, and seldom anything political. It merely preached sentiments with which most people felt in agreement: unselfishness, brotherhood, equality. "I'd rather be kind than right." "Mercy is superior to justice, the shallow-hearted to the contrary notwithstanding." "Speaking anatomically--and perhaps otherwise--the heart is our most valuable organ. The brain is a superstition." "In spiritual matters there is a simple, infallible test: everything that proceeds from the ego is evil; everything that proceeds from love for others is good." "Service is the only badge of nobility. I see nothing offensive in the conception of fertilizer as the highest symbol of man's destiny: it is fertilizer that produces wheat and roses." "The worst folk song is superior to the best symphony." "A man braver than his brothers insults them by implication. Let us aspire to no virtue which cannot be shared." "I have yet to see a genius or a hero who, if stuck with a burning match, would feel less pain than his undistinguished average brother." "Genius is an exaggeration of dimension. So is elephantiasis. Both may be only a disease." "We are all brothers under the skin--and I, for one, would be willing to skin humanity to prove it."

  In the offices of the Banner Ellsworth Toohey was treated respectfully and left alone. It was whispered that Gail Wynand did not like him--because Wynand was always polite to him. Alvah Scarret unbent to the point of cordiality, but kept a wary distance. There was a silent, watchful equilibrium between Toohey and Scarret: they understood each other.

  Toohey made no attempt to approach Wynand in any way. Toohey seemed indifferent to all the men who counted on the Banner. He concentrated on the others, instead.

  He organized a club of Wynand employees. It was not a labor union; it was just a club. It met once a month in the library of the Banner. It did not concern itself with wages, hours or working conditions; it had no concrete program at all. People got acquainted, talked, and listened to speeches. Ellsworth Toohey made most of the speeches. He spoke about new horizons and the press as the voice of the masses. Gail Wynand appeared at a meeting once, entering unexpectedly in the middle of a session. Toohey smiled and invited him to join the club, declaring that he was eligible. Wynand did not join. He sat listening for half an hour, yawned, got up, and left before the meeting was over.

  Alvah Scarret appreciated the fact that Toohey did not try to reach into his field, into the important matters of policy. As a kind of return courtesy, Scarret let Toohey recommend new employees, when there was a vacancy to fill, particularly if the position was not an important one; as a rule, Scarret did not care, while Toohey always cared, even when it was only the post of copy boy. Toohey's selections got the jobs. Most of them were young, brash, competent, shifty-eyed and shook hands limply. They had other things in common, but these were not so apparent.

  There were several monthly meetings which Toohey attended regularly; the meetings of: the Council of American Builders, the Council of American Writers, the Council of American Artists. He had organized them all.

  Lois Cook was chairman of the Council of American Writers. It met in the drawing room of her home on the Bowery. She was the only famous member. The rest included a woman who never used capitals in her books, and a man who never used commas; a youth who had written a thousand-page novel without a single letter o, and another who wrote poems that neither rhymed nor scanned; a man with a beard, who was sophisticated and proved it by using every unprintable four-letter word in every ten pages of his manuscript; a woman who imitated Lois Cook, except that her style was less clear; when asked for explanations she stated that this was the way life sounded to her, when broken by the prism of her subconscious--"You know what a prism does to a ray of light, don't you?" she said. There was also a fierce young man known simply as Ike the Genius, though nobody knew just what he had done, except that he talked about loving all of life.

  The council signed a declaration which stated that writers were servants of the proletariat--but the statement did not sound as simple as that; it was more involved and much longer. The declaration was sent to every newspaper in the country. It was never published anywhere, except on page 32 of New Frontiers.

  The Council of American Artists had, as chairman, a cadaverous youth who painted what he saw in his nightly dreams. There was a boy who used no canvas, but did something with bird cages and metronomes, and another who discovered a new technique of painting: he blackened a sheet of paper and then painted with a rubber eraser. There was a stout middle-aged lady who drew subconsciously, claiming that she never looked at her hand and had no idea of what the hand was doing; her hand, she said, was guided by the spirit of the departed lover whom she had never met on earth. Here they did not talk so much about the proletariat, but merely rebelled against the tyranny of reality and of the objective.

  A few friends pointed out to Ellsworth Toohey that he seemed guilty of inconsistency; he was so deeply opposed to individualism, they said, and here were all these writers and artists of his, and every one of them was a rabid individualist. "Do you really think so?" said Toohey, smiling blandly.

  Nobody took these Councils seriously. People talked about them, because they thought it made good conversation; it was such a huge joke, they said, certainly there was no harm in any of it. "Do you really think so?" said Toohey.

  Ellsworth Toohey was now forty-one years old. He lived in a distinguished apartment that seemed modest when compared to the size of the income he could have commanded if he wished. He liked to apply the adjective "conservative" to himself in one respect only: in his conservative good taste for clothes. No one had ever seen him lose his temper. His manner was immutable; it was the same in a drawing room, at a labor meeting, on a lecture platform, in the bathroom or during sexual intercourse: cool, self-possessed, amused, faintly patronizing.

  People admired his sense of humor. He was, they said, a man who could laugh at himself. "I'm a dangerous person. Somebody ought to warn you against me," he said to people, in the tone of uttering the most preposterous thing in the world.

  Of all the many titles bestowed upon him, he preferred one: Ellsworth Toohey, the Humanitarian.

  X

  THE ENRIGHT HOUSE WAS OPENED IN JUNE OF 1929. There was no formal ceremony. But Roger Enright wanted to mark the moment for his own satisfaction. He invited a few people he liked and he unlocked the great glass entrance door, throwing it open to the sun-filled air. Some press photographers had arrived, because the story concerned Roger Enright and because Roger Enright did not want to have them there. He ignored them. He stood in the middle of the street, looking at the building, then he walked through the lobby, stopping short without reason and resuming his pacing. He said nothing. He frowned fiercely, as if he were about to scream with rage. His friends knew that Roger Enright was happy.

  The building stood on the shore of the East River, a structure rapt as raised arms. The rock crystal forms mounted in such eloquent steps that the building did not seem stationary, but moving upward in a continuous flow--until one realized that it was only the movement of one's glance and that one's glance was forced to move in that particular rhythm. The walls of pale gray limestone looked silver against the sky, with the clean, dulled luster of metal, but a metal that had become a warm, living substance, carved by the most cutting of all instruments--a purposeful human will. It made the
house alive in a strange, personal way of its own, so that in the minds of spectators five words ran dimly, without object or clear connection: "... in His image and likeness ..."

  A young photographer from the Banner noticed Howard Roark standing alone across the street, at the parapet of the river. He was leaning back, his hands closed over the parapet, hatless, looking up at the building. It was an accidental, unconscious moment. The young photographer glanced at Roark's face--and thought of something that had puzzled him for a long time: he had always wondered why the sensations one felt in dreams were so much more intense than anything one could experience in waking reality--why the horror was so total and the ecstasy so complete--and what was that extra quality which could never be recaptured afterward; the quality of what he felt when he walked down a path through tangled green leaves in a dream, in an air full of expectation, of causeless, utter rapture--and when he awakened he could not explain it, it had been just a path through some woods. He thought of that because he saw that extra quality for the first time in waking existence, he saw it in Roark's face lifted to the building. The photographer was a young boy, new to his job; he did not know much about it; but he loved his work; he had been an amateur photographer since childhood. So he snapped a picture of Roark in that one moment.

  Later the Art Editor of the Banner saw the picture and barked: "What the hell's that?" "Howard Roark," said the photographer. "Who's Howard Roark?" "The architect." "Who the hell wants a picture of the architect?" "Well, I only thought ..." "Besides, it's crazy. What's the matter with the man?" So the picture was thrown into the morgue.

  The Enright House rented promptly. The tenants who moved in were people who wanted to live in sane comfort and cared about nothing else. They did not discuss the value of the building; they merely liked living there. They were the sort who lead useful, active private lives in public silence.

  But others talked a great deal of the Enright House, for about three weeks. They said that it was preposterous, exhibitionist and phony. They said: "My dear, imagine inviting Mrs. Moreland if you lived in a place like that! And her home is in such good taste!" A few were beginning to appear who said: "You know, I rather like modern architecture, there are some mighty interesting things being done that way nowadays, there's quite a school of it in Germany that's rather remarkable--but this is not like it at all. This is a freak."

  Ellsworth Toohey never mentioned the Enright House in his column. A reader of the Banner wrote to him: "Dear Mr. Toohey: What do you think of this place they call the Enright House? I have a friend who is an interior decorator and he talks a lot about it and he says it's lousy. Architecture and such various arts being my hobby, I don't know what to think. Will you tell us in your column?" Ellsworth Toohey answered in a private letter: "Dear Friend: There are so many important buildings and great events going on in the world today that I cannot devote my column to trivialities."

  But people came to Roark--the few he wanted. That winter, he had received a commission to build the Norris house, a modest country home. In May he signed another contract--for his first office building, a fifty-story skyscraper in the center of Manhattan. Anthony Cord, the owner, had come from nowhere and made a fortune in Wall Street within a few brilliant, violent years. He wanted a building of his own and he went to Roark.

  Roark's office had grown to four rooms. His staff loved him. They did not realize it and would have been shocked to apply such a term as love to their cold, unapproachable, inhuman boss. These were the words they used to describe Roark, these were the words they had been trained to use by all the standards and conceptions of their past; only, working with him, they knew that he was none of these things, but they could not explain, neither what he was nor what they felt for him.

  He did not smile at his employees, he did not take them out for drinks, he never inquired about their families, their love lives or their church attendance. He responded only to the essence of a man: to his creative capacity. In this office one had to be competent. There were no alternatives, no mitigating considerations. But if a man worked well, he needed nothing else to win his employer's benevolence: it was granted, not as a gift, but as a debt. It was granted, not as affection, but as recognition. It bred an immense feeling of self-respect within every man in that office.

  "Oh, but that's not human," said somebody when one of Roark's draftsmen tried to explain this at home, "such a cold, intellectual approach!" One boy, a younger sort of Peter Keating, tried to introduce the human in preference to the intellectual in Roark's office; he did not last two weeks. Roark made mistakes in choosing his employees occasionally, not often; those whom he kept for a month became his friends for life. They did not call themselves friends; they did not praise him to outsiders; they did not talk about him. They knew only, in a dim way, that it was not loyalty to him, but to the best within themselves.

  Dominique remained in the city all summer. She remembered, with bitter pleasure, her custom to travel; it made her angry to think that she could not go, could not want to go. She enjoyed the anger; it drove her to his room. On the nights which she did not spend with him she walked through the streets of the city. She walked to the Enright House or to the Fargo Store, and stood looking at the building for a long time. She drove alone out of town--to see the Heller house, the Sanborn house, the Gowan Service Station. She never spoke to him about that.

  Once, she took the Staten Island ferry at two o'clock in the morning; she rode to the Island, standing alone at the rail of an empty deck. She watched the city moving away from her. In the vast emptiness of sky and ocean, the city was only a small, jagged solid. It seemed condensed, pressed tight together, not a place of streets and separate buildings, but a single sculptured form. A form of irregular steps that rose and dropped without ordered continuity, long ascensions and sudden drops, like the graph of a stubborn struggle. But it went on mounting--toward a few points, toward the triumphant masts of skyscrapers raised out of the struggle.

  The boat went past the Statue of Liberty--a figure in a green light, with an arm raised like the skyscrapers behind it.

  She stood at the rail, while the city diminished, and she felt the motion of growing distance as a growing tightness within her, the pull of a living cord that could not be stretched too far. She stood in quiet excitement, when the boat sailed back and she saw the city growing again to meet her. She stretched her arms wide. The city expanded, to her elbows, to her wrists, beyond her finger tips. Then the skyscrapers rose over her head, and she was back.

  She came ashore. She knew where she had to go, and wanted to get there fast, but felt she must get there herself, like this, on her own feet. So she walked half the length of Manhattan, through long, empty, echoing streets. It was four-thirty when she knocked at his door. He had been asleep. She shook her head. "No," she said. "Go back to sleep. I just want to be here." She did not touch him. She took off her hat and shoes, huddled into an armchair, and fell asleep, her arm hanging over the chair's side, her head on her arm. In the morning he asked no questions. They fixed breakfast together, then he hurried away to his office. Before leaving, he took her in his arms and kissed her. He walked out, and she stood for a few moments, then left. They had not exchanged twenty words.

  There were weekends when they left the city together and drove in her car to some obscure point on the coast. They stretched out in the sun, on the sand of a deserted beach, they swam in the ocean. She liked to watch his body in the water. She would remain behind and stand, the waves hitting her knees, and watch him cutting a straight line through the breakers. She liked to lie with him at the edge of the water; she would lie on her stomach, a few feet away from him, facing the shore, her toes stretched to the waves; she would not touch him, but she would feel the waves coming up behind them, breaking against their bodies, and she would see the backwash running in mingled streams off her body and his.

  They spent the night at some country inn, taking a single room. They never spoke of the things left behind them in the
city. But it was the unstated that gave meaning to the relaxed simplicity of these hours; their eyes laughed silently at the preposterous contrast whenever they looked at each other.

  She tried to demonstrate her power over him. She stayed away from his house; she waited for him to come to her. He spoiled it by coming too soon; by refusing her the satisfaction of knowing that he waited and struggled against his desire; by surrendering at once. She would say: "Kiss my hand, Roark." He would kneel and kiss her ankle. He defeated her by admitting her power; she could not have the gratification of enforcing it. He would lie at her feet, he would say: "Of course I need you. I go insane when I see you. You can do almost anything you wish with me. Is that what you want to hear? Almost, Dominique. And the things you couldn't make me do--you could put me through hell if you demanded them and I had to refuse you, as I would. Through utter hell, Dominique. Does that please you? Why do you want to know whether you own me? It's so simple. Of course you do. All of me that can be owned. You'll never demand anything else. But you want to know whether you could make me suffer. You could. What of it?" The words did not sound like surrender, because they were not torn out of him, but admitted simply and willingly. She felt no thrill of conquest; she felt herself owned more than ever, by a man who could say these things, know them to be true, and still remain controlled and controlling--as she wanted him to remain.

  Late in June a man named Kent Lansing came to see Roark. He was forty years old, he was dressed like a fashion plate and looked like a prize fighter, though he was not burly, muscular or tough: he was thin and angular. He merely made one think of a boxer and of other things that did not fit his appearance: of a battering ram, of a tank, of a submarine torpedo. He was a member of a corporation formed for the purpose of erecting a luxurious hotel on Central Park South. There were many wealthy men involved and the corporation was ruled by a numerous board; they had purchased their site; they had not decided on an architect. But Kent Lansing had made up his mind that it would be Roark.