The Fountainhead

by Ayn Rand

Ellsworth Toohey smiled and said nothing.

  "Something's got to be done about the masses," Mitchell Layton declared. "They've got to be led. They don't know what's good for them. What I mean is, I can't understand why people of culture and position like us understand the great ideal of collectivism so well and are willing to sacrifice our personal advantages, while the working man who has everything to gain from it remains so stupidly indifferent. I can't understand why the workers in this country have so little sympathy with collectivism."

  "Can't you?" said Ellsworth Toohey. His glasses sparkled.

  "I'm bored with this," snapped Eve Layton, pacing the room, light streaming off her shoulders.

  The conversation switched to art and its acknowledged leaders of the day in every field.

  "Lois Cook said that words must be freed from the oppression of reason. She said the stranglehold of reason upon words is like the exploitation of the masses by the capitalists. Words must be permitted to negotiate with reason through collective bargaining. That's what she said. She's so amusing and refreshing."

  "Ike--what's his name again?--says that the theater is an instrument of love. It's all wrong, he says, about a play taking place on the stage--it takes place in the hearts of the audience."

  "Jules Fougler said in last Sunday's Banner that in the world of the future the theater will not be necessary at all. He says that the daily life of the common man is as much a work of art in itself as the best Shakespearean tragedy. In the future there will be no need for a dramatist. The critic will simply observe the life of the masses and evaluate its artistic points for the public. That's what Jules Fougler said. Now I don't know whether I agree with him, but he's got an interesting fresh angle there."

  "Lancelot Clokey says the British Empire is doomed. He says there will be no war, because the workers of the world won't allow it, it's international bankers and munition makers who start wars and they've been kicked out of the saddle. Lancelot Clokey says that the universe is a mystery and that his mother is his best friend. He says the Premier of Bulgaria eats herring for breakfast."

  "Gordon Prescott says that four walls and a ceiling is all there is to architecture. The floor is optional. All the rest is capitalistic ostentation. He says nobody should be allowed to build anything anywhere until every inhabitant of the globe has a roof over his head ... Well, what about the Patagonians? It's our job to teach them to want a roof. Prescott calls it dialectic trans-spatial interdependence."

  Ellsworth Toohey said nothing. He stood smiling at the vision of a huge typewriter. Each famous name he heard was a key of its keyboard, each controlling a special field, each hitting, leaving its mark, and the whole making connected sentences on a vast blank sheet. A typewriter, he thought, presupposes the hand that punches its keys.

  He snapped to attention when he heard Mitchell Layton's sulking voice say:

  "Oh, yes, the Banner, God damn it!"

  "I know," said Homer Slottern.

  "It's slipping," said Mitchell Layton. "It's definitely slipping. A swell investment it turned out to be for me. It's the only time Ellsworth's been wrong."

  "Ellsworth is never wrong," said Eve Layton.

  "Well, he was, that time. It was he who advised me to buy a piece of that lousy sheet." He saw Toohey's eyes, patient as velvet, and he added hastily: "What I mean is, I'm not complaining, Ellsworth. It's all right. It may even help me to slice something off my damned income tax. But that filthy reactionary rag is sure going downhill."

  "Have a little patience, Mitch," said Toohey.

  "You don't think I should sell and get out from under?"

  "No, Mitch, I don't."

  "Okay, if you say so. I can afford it. I can afford anything."

  "But I jolly well can't!" Homer Slottern cried with surprising vehemence. "It's coming to where one can't afford to advertise in the Banner. It's not their circulation--that's okay--but there's a feeling around--a funny kind of feeling.... Ellsworth, I've been thinking of dropping my contract."

  "Why?"

  "Do you know about the 'We Don't Read Wynand' movement?"

  "I've heard about it."

  "It's run by somebody named Gus Webb. They paste stickers on parked windshields and in public privies. They hiss Wynand newsreels in theaters. I don't think it's a large group, but ... Last week an unappetizing female threw a fit in my store--the one on Fifth Avenue--calling us enemies of labor because we advertised in the Banner. You can ignore that, but it becomes serious when one of our oldest customers, a mild little old lady from Connecticut and a Republican for three generations, calls us to say that perhaps maybe she should cancel her charge account, because somebody told her that Wynand is a dictator."

  "Gail Wynand knows nothing about politics, except of the most primitive kind," said Toohey. "He still thinks in terms of the Democratic Club of Hell's Kitchen. There was a certain innocence about the political corruption of those days, don't you think so?"

  "I don't care. That's not what I'm talking about. I mean, the Banner is becoming a kind of liability. It hurts business. One's got to be so careful nowadays. You get tied up with the wrong people and first thing you know there's a smear campaign going on and you get splashed too. I can't afford that sort of thing."

  "It's not entirely an unjustified smear."

  "I don't care. I don't give a damn whether it's true or not. Who am I to stick my neck out for Gail Wynand? If there's a public sentiment against him, my job is to get as far away as I can, pronto. And I'm not the only one. There's a bunch of us who're thinking the same. Jim Ferris of Ferris & Symes, Billy Shultz of Vimo Flakes, Bud Harper of Toddler Togs, and ... hell, you know them all, they're all your friends, our bunch, the liberal businessmen. We all want to yank our ads out of the Banner."

  "Have a little patience, Homer. I wouldn't hurry. There's a proper time for everything. There's such a thing as a psychological moment."

  "Okay, I'll take your word for it. But there's--there's a kind of feeling in the air. It will become dangerous some day."

  "It might. I'll tell you when it will."

  "I thought Ellsworth worked on the Banner," said Renee Slottern vacantly, puzzled.

  The others turned to her with indignation and pity.

  "You're naive, Renee," shrugged Eve Layton.

  "But what's the matter with the Banner?"

  "Now, child, don't you bother with dirty politics," said Jessica Pratt. "The Banner is a wicked paper. Mr. Wynand is a very evil man. He represents the selfish interests of the rich."

  "I think he's good-looking," said Renee. "I think he has sex appeal."

  "Oh, for Christ's sake!" cried Eve Layton.

  "Now, after all, Renee is entitled to express her opinion," Jessica Pratt said with immediate rage.

  "Somebody told me Ellsworth is the president of the Union of Wynand Employees," drawled Renee.

  "Oh dear me, no, Renee. I'm never president of anything. I'm just a rank-and-file member. Like any copy boy."

  "Do they have a Union of Wynand Employees?" asked Homer Slottern.

  "It was just a club, at first," said Toohey. "It became a union last year."

  "Who organized it?"

  "How can one tell? It was more or less spontaneous. Like all mass movements."

  "I think Wynand is a bastard," declared Mitchell Layton. "Who does he think he is anyway? I come to a meeting of stockholders and he treats us like flunkies. Isn't my money as good as his? Don't I own a hunk of his damn paper? I could teach him a thing or two about journalism. I have ideas. What's he so damn arrogant about? Just because he made that fortune himself? Does he have to be such a damn snob just because he came from Hell's Kitchen? It isn't other people's fault if they weren't lucky enough to be born in Hell's Kitchen to rise out of! Nobody understands what a terrible handicap it is to be born rich. Because people just take for granted that because you were born that way you'd just be no good if you weren't. What I mean is if I'd had Gail Wynand's breaks, I'd be twice as rich as he is by now an
d three times as famous. But he's so conceited he doesn't realize this at all!"

  Nobody said a word. They heard the rising inflection of hysteria in Mitchell Layton's voice. Eve Layton looked at Toohey, silently appealing for help. Toohey smiled and made a step forward.

  "I'm ashamed of you, Mitch," he said.

  Homer Slottern gasped. One did not rebuke Mitchell Layton on this subject; one did not rebuke Mitchell Layton on any subject.

  Mitchell Layton's lower lip vanished.

  "I'm ashamed of you, Mitch," Toohey repeated sternly, "for comparing yourself to a man as contemptible as Gail Wynand."

  Mitchell Layton's mouth relaxed in the equivalent of something almost as gentle as a smile.

  "That's true," he said humbly.

  "No, you would never be able to match Gail Wynand's career. Not with your sensitive spirit and humanitarian instincts. That's what's holding you down, Mitch, not your money. Who cares about money? The age of money is past. It's your nature that's too fine for the brute competition of our capitalistic system. But that, too, is passing."

  "It's self-evident," said Eve Layton.

  It was late when Toohey left. He felt exhilarated and he decided to walk home. The streets of the city lay gravely empty around him, and the dark masses of the buildings rose to the sky, confident and unprotected. He remembered what he had said to Dominique once: "A complicated piece of machinery, such as our society ... and by pressing your little finger against one spot ... the center of all its gravity ... you can make the thing crumble into a worthless heap of scrap iron ..." He missed Dominique. He wished she could have been with him to hear this evening's conversation.

  The unshared was boiling up within him. He stopped in the middle of a silent street, threw his head back and laughed aloud, looking at the tops of skyscrapers.

  A policeman tapped him on the shoulder, asking: "Well, Mister?"

  Toohey saw buttons and blue cloth tight over a broad chest, a stolid face, hard and patient; a man as set and dependable as the buildings around them.

  "Doing your duty, officer?" Toohey asked, the echoes of laughter like jerks in his voice. "Protecting law and order and decency and human lives?" The policeman scratched the back of his head. "You ought to arrest me, officer."

  "Okay, pal, okay," said the policeman. "Run along. We all take one too many once in a while."

  VII

  IT WAS ONLY WHEN THE LAST PAINTER HAD DEPARTED THAT PETER Keating felt a sense of desolation and a numb weakness in the crook of his elbows. He stood in the hall, looking up at the ceiling. Under the harsh gloss of paint he could still see the outline of the square where the stairway had been removed and the opening closed over. Guy Francon's old office was gone. The firm of Keating & Dumont had a single floor left now.

  He thought of the stairway and how he had walked up its red-plushed steps for the first time, carrying a drawing on the tips of his fingers. He thought of Guy Francon's office with the glittering butterfly reflections. He thought of the four years when that office had been his own.

  He had known what was happening to his firm, in these last years; he had known it quite well while men in overalls removed the stairway and closed the gap in the ceiling. But it was that square under the white paint that made it real to him, and final.

  He had resigned himself to the process of going down, long ago. He had not chosen to resign himself--that would have been a positive decision--it had merely happened and he had let it happen. It had been simple and almost painless, like drowsiness carrying one down to nothing more sinister than a welcome sleep. The dull pain came from wishing to understand why it had happened.

  There was "The March of the Centuries" exposition, but that alone could not have mattered. "The March of the Centuries" had opened in May. It was a flop. What's the use, thought Keating, why not say the right word? Flop. It was a ghastly flop. "The title of this venture would be most appropriate," Ellsworth Toohey had written, "if we assume that the centuries had passed by on horseback." Everything else written about the architectural merits of the exposition had been of the same order.

  Keating thought, with wistful bitterness, of how conscientiously they had worked, he and the seven other architects, designing those buildings. It was true that he had pushed himself forward and hogged the publicity, but he certainly had not done that as far as designing was concerned. They had worked in harmony, through conference after conference, each giving in to the others, in true collective spirit, none trying to impose his personal prejudices or selfish ideas. Even Ralston Holcombe had forgotten Renaissance. They had made the buildings modern, more modern than anything ever seen, more modern than the show windows of Slottern's Department Store. He did not think that the buildings looked like "coils of toothpaste when somebody steps on the tube or stylized versions of the lower intestine," as one critic had said.

  But the public seemed to think it, if the public thought at all. He couldn't tell. He knew only that tickets to "The March of the Centuries" were being palmed off at Screeno games in theaters, and that the sensation of the exposition, the financial savior, was somebody named Juanita Fay who danced with a live peacock as sole garment.

  But what if the Fair did flop? It had not hurt the other architects of its council. Gordon L. Prescott was going stronger than ever. It wasn't that, thought Keating. It had begun before the Fair. He could not say when.

  There could be so many explanations. The depression had hit them all; others had recovered to some extent, Keating & Dumont had not. Something had gone out of the firm and out of the circles from which it drew its clients, with the retirement of Guy Francon. Keating realized that there had been art and skill and its own kind of illogical energy in the career of Guy Francon, even if the art consisted only of his social charm and the energy was directed at snaring bewildered millionaires. There had been a twisted sort of sense in people's response to Guy Francon.

  He could see no hint of rationality in the things to which people responded now. The leader of the profession--on a mean scale, there was no grand scale left in anything--was Gordon L. Prescott, Chairman of the Council of American Builders; Gordon L. Prescott who lectured on the transcendental pragmatism of architecture and social planning, who put his feet on tables in drawing rooms, attended formal dinners in knickerbockers and criticized the soup aloud. Society people said they liked an architect who was a liberal. The A.G.A. still existed, in stiff, hurt dignity, but people referred to it as the Old Folks' Home. The Council of American Builders ruled the profession and talked about a closed shop, though no one had yet devised a way of achieving that. Whenever an architect's name appeared in Ellsworth Toohey's column, it was always that of Augustus Webb. At thirty-nine, Keating heard himself described as old-fashioned.

  He had given up trying to understand. He knew dimly that the explanation of the change swallowing the world was of a nature he preferred not to know. In his youth he had felt an amicable contempt for the works of Guy Francon or Ralston Holcombe, and emulating them had seemed no more than innocent quackery. But he knew that Gordon L. Prescott and Gus Webb represented so impertinent, so vicious a fraud that to suspend the evidence of his eyes was beyond his elastic capacity. He had believed that people found greatness in Holcombe and there had been a reasonable satisfaction in borrowing his borrowed greatness. He knew that no one saw anything whatever in Prescott. He felt something dark and leering in the manner with which people spoke of Prescott's genius; as if they were not doing homage to Prescott, but spitting upon genius. For once, Keating could not follow people; it was too clear, even to him, that public favor had ceased being a recognition of merit, that it had become almost a brand of shame.

  He went on, driven by inertia. He could not afford his large floor of offices and he did not use half the rooms, but he kept them and paid the deficit out of his own pocket. He had to go on. He had lost a large part of his personal fortune in careless stock speculation; but he had enough left to insure some comfort for the rest of his life. This did not d
isturb him; money had ceased to hold his attention as a major concern. It was inactivity he dreaded; it was the question mark looming beyond, if the routine of his work were to be taken away from him.

  He walked slowly, his arms pressed to his body, his shoulders hunched, as if drawn against a permanent chill. He was gaining weight. His face was swollen; he kept it down, and the pleat of a second chin was flattened against the knot of his necktie. A hint of his beauty remained and made him look worse; as if the lines of his face had been drawn on a blotter and had spread, blurring. The gray threads on his temples were becoming noticeable. He drank often, without joy.

  He had asked his mother to come back to live with him. She had come back. They sat through long evenings together in the living room, saying nothing; not in resentment, but seeking reassurance from each other. Mrs. Keating offered no suggestions, no reproaches. There was, instead, a new, panic-shaped tenderness in her manner toward her son. She would cook his breakfast, even though they had a maid; she would prepare his favorite dish--French pancakes, the kind he had liked so much when he was nine years old and sick with the measles. If he noticed her efforts and made some comment of pleasure, she nodded, blinking, turning away, asking herself why it should make her so happy and if it did, why should her eyes fill with tears.

  She would ask suddenly, after a silence: "It will be all right, Petey? Won't it?" And he would not ask what she meant, but answer quietly: "Yes, Mother, it will be all right," putting the last of his capacity for pity into an effort to make his voice sound convincing.

  Once, she asked him: "You're happy, Petey? Aren't you?" He looked at her and saw that she was not laughing at him; her eyes were wide and frightened. And as he could not answer, she cried: "But you've got to be happy! Petey, you've got to! Else what have I lived for?" He wanted to get up, gather her in his arms and tell her that it was all right--and then he remembered Guy Francon saying to him on his wedding day: "I want you to feel proud of me, Peter.... I want to feel that it had some meaning." Then he could not move. He felt himself in the presence of something he must not grasp, must never allow into his mind. He turned away from his mother.

  One evening, she said without preamble: "Petey, I think you should get married. I think it would be much better if you were married." He found no answer, and while he groped for something gay to utter, she added: "Petey, why don't you ... why don't you marry Catherine Halsey?" He felt anger filling his eyes, he felt pressure on his swollen lids, while he was turning slowly to his mother; then he saw her squat little figure before him, stiff and defenseless, with a kind of desperate pride, offering to take any blow he wished to deliver, absolving him in advance--and he knew that it had been the bravest gesture she had ever attempted. The anger went, because he felt her pain more sharply than the shock of his own, and he lifted one hand, to let it fall limply, to let the gesture cover everything, saying only: "Mother, don't let's ..."