"What did you expect?" said Keating, sprawled in a low armchair before him. "Such is life."
"But what beats me is how did that little skunk ever hear of it? To snatch it right from under our nose!"
"Well, I've never trusted him anyway." Keating shrugged. "Human nature ..."
The bitterness in his voice was sincere. He had received no gratitude from Stengel. Stengel's parting remark to him had been only: "You're a worse bastard than I thought you were. Good luck. You'll be a great architect some day."
Thus Keating achieved the position of chief designer for Francon & Heyer.
Francon celebrated the occasion with a modest little orgy at one of the quieter and costlier restaurants. "In a coupla years," he kept repeating, "in a coupla years you'll see things happenin', Pete.... You're a good boy and I like you and I'll do things for you.... Haven't I done things for you? ... You're going places, Pete ... in a coupla years...." "Your tie's crooked, Guy," said Keating dryly, "and you're spilling brandy all over your vest...."
Facing his first task of designing, Keating thought of Tim Davis, of Stengel, of many others who had wanted it, had struggled for it, had tried, had been beaten--by him. It was a triumphant feeling. It was a tangible affirmation of his greatness. Then he found himself suddenly in his glass-enclosed office, looking down at a blank sheet of paper--alone. Something rolled in his throat down to his stomach, cold and empty, his old feeling of the dropping hole. He leaned against the table, closing his eyes. It had never been quite real to him before that this was the thing actually expected of him--to fill a sheet of paper, to create something on a sheet of paper.
It was only a small residence. But instead of seeing it rise before him, he saw it sinking; he saw its shape as a pit in the ground; and as a pit within him; as emptiness, with only Davis and Stengel rattling uselessly within it. Francon had said to him about the building: "It must have dignity, you know, dignity ... nothing freaky ... a structure of elegance ... and stay within the budget," which was Francon's conception of giving his designer ideas and letting him work them out. Through a cold stupor, Keating thought of the clients laughing in his face; he heard the thin, omnipotent voice of Ellsworth Toohey calling his attention to the opportunities open to him in the field of plumbing. He hated every piece of stone on the face of the earth. He hated himself for having chosen to be an architect.
When he began to draw, he tried not to think of the job he was doing; he thought only that Francon had done it, and Stengel, even Heyer, and all the others, and that he could do it, if they could.
He spent many days on his preliminary sketches. He spent long hours in the library of Francon & Heyer, selecting from Classic photographs the appearance of his house. He felt the tension melting in his mind. It was right and it was good, that house growing under his hand, because men were still worshiping the masters who had done it before him. He did not have to wonder, to fear or to take chances; it had been done for him.
When the drawings were ready, he stood looking at them uncertainly. Were he to be told that this was the best or the ugliest house in the world, he would agree with either. He was not sure. He had to be sure. He thought of Stanton and of what he had relied upon when working on his assignments there. He telephoned Cameron's office and asked for Howard Roark.
He came to Roark's room, that night, and spread before him the plans, the elevations, the perspective of his first building. Roark stood over it, his arms spread wide, his hands holding the edge of the table, and he said nothing for a long time.
Keating waited anxiously; he felt anger growing with his anxiety--because he could see no reason for being so anxious. When he couldn't stand it, he spoke:
"You know, Howard, everybody says Stengel's the best designer in town, and I don't think he was really ready to quit, but I made him and I took his place. I had to do some pretty fine thinking to work that, I ..."
He stopped. It did not sound bright and proud, as it would have sounded anywhere else. It sounded like begging.
Roark turned and looked at him. Roark's eyes were not contemptuous; only a little wider than usual, attentive and puzzled. He said nothing and turned back to the drawings.
Keating felt naked. Davis, Stengel, Francon meant nothing here. People were his protection against people. Roark had no sense of people. Others gave Keating a feeling of his own value. Roark gave him nothing. He thought that he should seize his drawings and run. The danger was not Roark. The danger was that he, Keating, remained.
Roark turned to him.
"Do you enjoy doing this sort of thing, Peter?" he asked.
"Oh, I know," said Keating, his voice shrill, "I know you don't approve of it, but this is business, I just want to know what you think of this practically, not philosophically, not ..."
"No, I'm not going to preach to you. I was only wondering."
"If you could help me, Howard, if you could just help me with it a little. It's my first house, and it means so much to me at the office, and I'm not sure. What do you think? Will you help me, Howard?"
"All right."
Roark threw aside the sketch of the graceful facade with the fluted pilasters, the broken pediments, the Roman fasces over the windows and the two eagles of Empire by the entrance. He picked up the plans. He took a sheet of tracing paper, threw it over the plan and began to draw. Keating stood watching the pencil in Roark's hand. He saw his imposing entrance foyer disappearing, his twisted corridors, his lightless corners; he saw an immense living room growing in the space he had thought too limited; a wall of giant windows facing the garden, a spacious kitchen. He watched for a long time.
"And the facade?" he asked, when Roark threw the pencil down.
"I can't help you with that. If you must have it Classic, have it good Classic at least. You don't need three pilasters where one will do. And take those ducks off the door, it's too much."
Keating smiled at him gratefully, when he was leaving, his drawings under his arm; he descended the stairs, hurt and angry; he worked for three days making new plans from Roark's sketches, and a new, simpler elevation; and he presented his house to Francon with a proud gesture that looked like a flourish.
"Well," said Francon, studying it, "well, I declare! ... What an imagination you have, Peter ... I wonder ... It's a bit daring, but I wonder ..." He coughed and added: "It's just what I had in mind."
"Of course," said Keating. "I studied your buildings, and I tried to think of what you'd do, and if it's good, it's because I think I know how to catch your ideas."
Francon smiled. And Keating thought suddenly that Francon did not really believe it and knew that Keating did not believe it, and yet they were both contented, bound tighter together by a common method and a common guilt.
The letter on Cameron's desk informed him regretfully that after earnest consideration, the board of directors of the Security Trust Company had not been able to accept his plans for the building to house the new Astoria branch of the Company and that the commission had been awarded to the firm of Gould & Pettingill. A check was attached to the letter, in payment for his preliminary drawings, as agreed; the amount was not enough to cover the expense of making those drawings.
The letter lay spread out on the desk. Cameron sat before it, drawn back, not touching the desk, his hands gathered in his lap, the back of one in the palm of the other, the fingers tight. It was only a small piece of paper, but he sat huddled and still, because it seemed to be a supernatural thing, like radium, sending forth rays that would hurt him if he moved and exposed his skin to them.
For three months, he had awaited the commission of the Security Trust Company. One after another, the chances that had loomed before him at rare intervals, in the last two years, had vanished, looming in vague promises, vanishing in firm refusals. One of his draftsmen had had to be discharged long ago. The landlord had asked questions, politely at first, then dryly, then rudely and openly. But no one in the office had minded that nor the usual arrears in salaries: there had been t
he commission of the Security Trust Company. The vice-president, who had asked Cameron to submit drawings, had said: "I know, some of the directors won't see it as I do. But go ahead, Mr. Cameron. Take the chance with me and I'll fight for you."
Cameron had taken the chance. He and Roark had worked savagely -to have the plans ready on time, before time, before Gould & Pettingill could submit theirs. Pettingill was a cousin of the Bank president's wife and a famous authority on the ruins of Pompeii; the Bank president was an ardent admirer of Julius Caesar and had once, while in Rome, spent an hour and a quarter in reverent inspection of the Colosseum.
Cameron and Roark and a pot of black coffee had lived in the office from dawn till frozen dawn for many days, and Cameron had thought involuntarily of the electric bill, but made himself forget it. The lights still burned in the drafting room in the early hours when he sent Roark out for sandwiches, and Roark found gray morning in the streets while it was still night in the office, in the windows facing a high brick wall. On the last day, it was Roark who had ordered Cameron home after midnight, because Cameron's hands were jerking and his knees kept seeking the tall drafting stool for support, leaning against it with a slow, cautious, sickening precision. Roark had taken him down to a taxi and in the light of a street lamp Cameron had seen Roark's face, drawn, the eyes kept wide artificially, the lips dry. The next morning Cameron had entered the drafting room, and found the coffee pot on the floor, on its side over a black puddle, and Roark's hand in the puddle, palm up, fingers half closed, Roark's body stretched out on the floor, his head thrown back, fast asleep. On the table, Cameron had found the plans, finished....
He sat looking at the letter on his desk. The degradation was that he could not think of those nights behind him, he could not think of the building that should have risen in Astoria and of the building that would now take its place; it was that he thought only of the bill unpaid to the electric company....
In these last two years Cameron had disappeared from his office for weeks at a time, and Roark had not found him at home, and had known what was happening, but could only wait, hoping for Cameron's safe return. Then, Cameron had lost even the shame of his agony, and had come to his office reeling, recognizing no one, openly drunk and flaunting it before the walls of the only place on earth he had respected.
Roark learned to face his own landlord with the quiet statement that he could not pay him for another week; the landlord was afraid of him and did not insist. Peter Keating heard of it somehow, as he always heard everything he wanted to know. He came to Roark's unheated room, one evening, and sat down, keeping his overcoat on. He produced a wallet, pulled out five ten-dollar bills, and handed them to Roark. "You need it, Howard. I know you need it. Don't start protesting now. You can pay me back any time." Roark looked at him, astonished, took the money, saying: "Yes, I need it. Thank you, Peter." Then Keating said: "What in hell are you doing, wasting yourself on old Cameron? What do you want to live like this for? Chuck it, Howard, and come with us. All I have to do is say so. Francon'll be delighted. We'll start you at sixty a week." Roark took the money out of his pocket and handed it back to him. "Oh, for God's sake, Howard! I ... I didn't mean to offend you." "I didn't either." "But please, Howard, keep it anyway." "Good night, Peter."
Roark was thinking of that when Cameron entered the drafting room, the letter from the Security Trust Company in his hand. He gave the letter to Roark, said nothing, turned and walked back to his office. Roark read the letter and followed him. Whenever they lost another commission Roark knew that Cameron wanted to see him in the office, but not to speak of it; just to see him there, to talk of other things, to lean upon the reassurance of his presence.
On Cameron's desk Roark saw a copy of the New York Banner.
It was the leading newspaper of the great Wynand chain. It was a paper he would have expected to find in a kitchen, in a barbershop, in a third-rate drawing room, in the subway; anywhere but in Cameron's office. Cameron saw him looking at it and grinned.
"Picked it up this morning, on my way here. Funny, isn't it? I didn't know we'd ... get that letter today. And yet it seems appropriate together--this paper and that letter. Don't know what made me buy it. A sense of symbolism, I suppose. Look at it, Howard. It's interesting."
Roark glanced through the paper. The front page carried the picture of an unwed mother with thick glistening lips, who had shot her lover; the picture headed the first installment of her autobiography and a detailed account of her trial. The other pages ran a crusade against utility companies; a daily horoscope; extracts from church sermons; recipes for young brides; pictures of girls with beautiful legs; advice on how to hold a husband; a baby contest; a poem proclaiming that to wash dishes was nobler than to write a symphony; an article proving that a woman who had borne a child was automatically a saint.
"That's our answer, Howard. That's the answer given to you and to me. This paper. That it exists and that it's liked. Can you fight that? Have you any words to be heard and understood by that? They shouldn't have sent us the letter. They should have sent a copy of Wynand's Banner. It would be simpler and clearer. Do you know that in a few years that incredible bastard, Gail Wynand, will rule the world? It will be a beautiful world. And perhaps he's right."
Cameron held the paper outstretched, weighing it on the palm of his hand.
"To give them what they want, Howard, and to let them worship you for it, for licking their feet--or ... or what? What's the use? ... Only it doesn't matter, nothing matters, not even that it doesn't matter to me any more...."
Then he looked at Roark. He added:
"If only I could hold on until I've started you on your own, Howard...."
"Don't speak of that."
"I want to speak of that.... It's funny, Howard, next spring it will be three years that you've been here. Seems so much longer, doesn't it? Well, have I taught you anything? I'll tell you: I've taught you a great deal and nothing. No one can teach you anything, not at the core, at the source of it. What you're doing--it's yours, not mine, I can only teach you to do it better. I can give you the means, but the aim--the aim's your own. You won't be a little disciple putting up anemic little things in early Jacobean or late Cameron. What you'll be ... if only I could live to see it!"
"You'll live to see it. And you know it now."
Cameron stood looking at the bare walls of his office, at the white piles of bills on his desk, at the sooty rain trickling slowly down the windowpanes.
"I have no answer to give them, Howard. I'm leaving you to face them. You'll answer them. All of them, the Wynand papers and what makes the Wynand papers possible and what lies behind that. It's a strange mission to give you. I don't know what our answer is to be. I know only that there is an answer and that you're holding it, that you're the answer, Howard, and some day you'll find the words for it."
VI
SERMONS IN STONE BY ELLSWORTH M. TOOHEY WAS PUBLISHED IN January of the year 1925.
It had a fastidious jacket of midnight blue with plain silver letters and a silver pyramid in one corner. It was subtitled "Architecture for Everybody" and its success was sensational. It presented the entire history of architecture, from mud hut to skyscraper, in the terms of the man in the street, but it made these terms appear scientific. Its author stated in his preface that it was an attempt "to bring architecture where it belongs--to the people." He stated further that he wished to see the average man "think and speak of architecture as he speaks of baseball." He did not bore his readers with the technicalities of the Five Orders, the post and lintel, the flying buttress or reinforced concrete. He filled his pages with homey accounts of the daily life of the Egyptian housekeeper, the Roman shoe-cobbler, the mistress of Louis XIV, what they ate, how they washed, where they shopped and what effect their buildings had upon their existence. But he gave his readers the impression that they were learning all they had to know about the Five Orders and the reinforced concrete. He gave his readers the impression that there were no pr
oblems, no achievements, no reaches of thought beyond the common daily routine of people nameless in the past as they were in the present; that science had no goal and no expression beyond its influence on this routine; that merely by living through their own obscure days his readers were representing and achieving all the highest objectives of any civilization. His scientific precision was impeccable and his erudition astounding; no one could refute him on the cooking utensils of Babylon or the doormats of Byzantium. He wrote with the flash and the color of a first-hand observer. He did not plod laboriously through the centuries; he danced, said the critics, down the road of the ages, as a jester, a friend and a prophet.
He said that architecture was truly the greatest of the arts, because it was anonymous, as all greatness. He said that the world had many famous buildings, but few renowned builders, which was as it should be, since no one man had ever created anything of importance in architecture, or elsewhere, for that matter. The few whose names had lived were really impostors, expropriating the glory of the people as others expropriated its wealth. "When we gaze at the magnificence of an ancient monument and ascribe its achievement to one man, we are guilty of spiritual embezzlement. We forget the army of craftsmen, unknown and unsung, who preceded him in the darkness of the ages, who toiled humbly--all heroism is humble--each contributing his small share to the common treasure of his time. A great building is not the private invention of some genius or other. It is merely a condensation of the spirit of a people."
He explained that the decadence of architecture had come when private property replaced the communal spirit of the Middle Ages, and that the selfishness of individual owners--who built for no purpose save to satisfy their own bad taste, "all claim to an individual taste is bad taste"--had ruined the planned effect of cities. He demonstrated that there was no such thing as free will, since men's creative impulses were determined, as all else, by the economic structure of the epoch in which they lived. He expressed admiration for all the great historical styles, but admonished against their wanton mixture. He dismissed modern architecture, stating that: "So far, it has represented nothing but the whim of isolated individuals, has borne no relation to any great, spontaneous mass movement, and as such is of no consequence." He predicted a better world to come, where all men would be brothers and their buildings would become harmonious and all alike, in the great tradition of Greece, "the Mother of Democracy." When he wrote this, he managed to convey--with no tangible break in the detached calm of his style--that the words now seen in ordered print had been blurred in manuscript by a hand unsteady with emotion. He called upon architects to abandon their selfish quest for individual glory and dedicate themselves to the embodiment of the mood of their people. "Architects are servants, not leaders. They are not to assert their little egos, but to express the soul of their country and the rhythm of their time. They are not to follow the delusions of their personal fancy, but to seek the common denominator, which will bring their work close to the heart of the masses. Architects -ah, my friends, theirs is not to reason why. Theirs is not to command, but to be commanded."