Table of Contents
Title Page
Copyright Page
Dedication
Introduction
Part 1
I
II
III
IV
V
VI
VII
VIII
IX
X
XI
XII
XIII
XIV
XV
Part 2
I
II
III
IV
V
VI
VII
VIII
IX
X
XI
XII
XIII
XIV
XV
Part 3
I
II
III
IV
V
VI
VII
VIII
IX
Part 4
I
II
III
IV
V
VI
VII
VIII
IX
X
XI
XII
XIII
XIV
XV
XVI
XVII
XVIII
XIX
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AFTERWORD
THE WRITINGS OF AYN RAND
FICTION
Atlas Shrugged
The Fountainhead
We the Living
Anthem
The Early Ayn Rand
Night of January 16th
PHILOSOPHY
General
Objectivism: The Philosophy of Ayn Rand by Dr. Leonard Peikoff
The Ayn Rand Lexicon
The Ayn Rand Reader
Philosophy: Who Needs It?
The Voice of Reason
For the New Intellectual
The Ominous Parallels by Dr. Leonard Peikoff
The Virtue of Selfishness
Epistemology
An Introduction to Objectivist Epistemology
Politics/Economics
Capitalism: The Unknown Ideal
Return of the Primitive
Art, Literature, and Letters
The Romantic Manifesto
The Art of Fiction
The Art of Nonfiction
Journals of Ayn Rand
Letters of Ayn Rand
PLUME
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Published by Plume, a member of Penguin Group (USA) Inc. Originally published by
Bobbs-Merrill.
First Plume Printing, November 1994
First Plume Printing (Centennial Edition), May 2005
Copyright The Bobbs-Merrill Company, 1943 Copyright Ayn Rand, 1968 Copyright renewed Ayn Rand, 1971 Copyright renewed Leonard Peikoff, Paul Gitlin and Eugene Winick, 1996 Afterword copyright (c) Leonard Peikoff, 1993 All rights reserved Permission requests for college or textbook use should be addressed to the Estate of
Ayn Rand, Box 177, Murray Hill Station, New York, New York 10157
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To Frank O'Connor
I offer my profound gratitude to the great profession of architecture and its heroes who have given us some of the highest expressions of man's genius, yet have remained unknown, undiscovered by the majority of men. And to the architects who gave me their generous assistance in the technical matters of this book.
No person or event in this story is intended as a reference to any real person or event. The titles of the newspaper columns were invented and used by me in the first draft of this novel. They were not taken from and have no reference to any actual newspaper columns or features.
Ayn Rand
March 10, 1943
AUTHOR'S INTRODUCTION to the 1968 Edition
Many people have asked me how I feel about the fact that The Fountainhead has been in print for twenty-five years. I cannot say that I feel anything in particular, except a kind of quiet satisfaction. In this respect, my attitude toward my writing is best expressed by a statement of Victor Hugo: "If a writer wrote merely for his time, I would have to break my pen and throw it away."
Certain writers, of whom I am one, do not live, think or write on the range of the moment. Novels, in the proper sense of the word, are not written to vanish in a month or a year. That most of them do, today, that they are written and published as if they were magazines, to fade as rapidly, is one of the sorriest aspects of today's literature, and one of the clearest indictments of its dominant esthetic philosophy: concrete-bound, journalistic Naturalism which has now reached its dead end in the inarticulate sounds of panic.
Longevity--predominantly, though not exclusively--is the prerogative of a literary school which is virtually non-existent today: Romanticism. This is not the place for a dissertation on the nature of Romantic fiction, so let me state--for the record and for the benefit of those college students who have never been allowed to discover it--only that Romanticism is the conceptual school of art. It deals, not with the random trivia of the day, but with the timeless, fundamental, universal problems and values of human existence. It does not record or photograph; it creates and projects. It is concerned--in the words of Aristotle--not with things as they are, but with things as they might be and ought to be.
And for the benefit of those who consider relevance to one's own time as of crucial importance, I will add, in regard to our age, that never has there been a time when men have so desperately needed a projection of things as they ought to be.
I do not mean to imply that I knew, when I wrote it, that The Fountainhead would remain in print for twenty-five years. I did not think of any specific time period. I knew only that it was a book that ought to live. It did.
But that I knew it over twenty-five years ago--that I knew it while The Fountainhead was being rejected by twelve publishers, some of whom declared that it was "too intellectual," "too controversial" and would not sell because no audience existed for it--that was the difficult part of its history; difficult for me to bear. I mention it here for the sake of any other writer of my kind who might have to face the same battle--as a reminder of the fact that it can be done.
I will not retell here the story of the publication of The Fountainhead. But it would be impossible for me to discuss The Fountainhead or any part of its history without mentioning the man who made it possible for me to write it: my husband, Frank O'Connor.
In a play I wrote in my early thirties, Ideal, the heroine, a screen star, speaks for me when she says: "I want to see, real, living, and in the hours of my own days, that glory I create as an illusion. I want it real. I want to know that there is someone, somewhere, who wants it, too. Or else what is the use of seeing it, and working, and burning oneself for an impossible vision? A spirit, too, needs fuel. It can run dry."
Frank was the fuel. He gave me, in the hours of my own days, the reality of that sense of life which created The Fountainhead--and he helped me to maintain it over a long span of years when there was nothing around us but a gray desert of people and events that evoked nothing but contempt and revulsion. The essence of the bond between us is the fact that neither of us has ever wanted or been tempted to settle for anything less than the world presented in The Fountainhead. We never will.
If there is in me any touch of the Naturalistic writer who records "real-life" dialogue for use in a novel, it has been exercised only in regard to Frank. For instance, one of the most effective lines in The Fountainhead comes at the end of Part II, when, in reply to Toohey's question: "Why don't you tell me what you think of me?" Roark answers: "But I don't think of you." That line was Frank's answer to a different type of person, in a somewhat similar context. "You're casting pearls without getting even a pork chop in return," was said by Frank to me, in regard to my professional position. I gave that line to Dominique at Roark's trial.
I did not feel discouragement very often, and when I did, it did not last longer than overnight. But there was one evening, during the writing of The Fountainhead, when I felt so profound an indignation at the state of "things as they are" that it seemed as if I would never regain the energy to move one step farther toward "things as they ought to be." Frank talked to me for hours, that night. He convinced me of why one cannot give up the world to those one despises. By the time he finished, my discouragement was gone; it never came back in so intense a form.
I had been opposed to the practice of dedicating books; I had held that a book is addressed to any reader who proves worthy of it. But, that night, I told Frank that I would dedicate The Fountainhead to him because he had saved it. And one of my happiest moments, about two years later, was given to me by the look on his face when he came home, one day, and saw the page-proofs of the book, headed by the page that stated in cold, clear, objective print: To Frank O'Connor.
These are some of the reasons why, for me, the most profound personal meaning of this new, anniversary edition is the fact that its jacket carries the reproduction of a painting by Frank. It is like the completion, the proper climax of this book's history.
That painting was not done for The Fountainhead. It represents Frank's version of a sunrise we had seen once in San Francisco. His title for the painting is Man Also Rises.
I have been asked whether I have changed in these past twenty-five years. No, I am the same--only more so. Have my ideas changed? No, my fundamental convictions, my view of life and of man, have never changed, from as far back as I can remember, but my knowledge of their applications has grown, in scope and in precision. What is my present evaluation of The Fountainhead? I am as proud of it as I was on the day when I finished writing it.
Was The Fountainhead written for the purpose of presenting my philosophy? Here, I shall quote from The Goal of My Writing, an address I gave at Lewis and Clark College, on October 1, 1963: "This is the motive and purpose of my writing: the projection of an ideal man. The portrayal of a moral ideal, as my ultimate literary goal, as an end in itself--to which any didactic, intellectual or philosophical values contained in a novel are only the means.
"Let me stress this: my purpose is not the philosophical enlightenment of my readers ... My purpose, first cause and prime mover is the portrayal of Howard Roark [or the heroes of Atlas Shrugged] as an end in himself ...
"I write--and read--for the sake of the story.... My basic test for any story is: 'Would I want to meet these characters and observe these events in real life? Is this story an experience worth living through for its own sake? Is the pleasure of contemplating these characters an end in itself?'
"Since my purpose is the presentation of an ideal man, I had to define and present the conditions which make him possible and which his existence requires. Since man's character is the product of his premises, I had to define and present the kinds of premises and values that create the character of an ideal man and motivate his actions; which means that I had to define and present a rational code of ethics. Since man acts among and deals with other men, I had to present the kind of social system that makes it possible for ideal men to exist and to function--a free, productive, rational system which demands and rewards the best in every man, and which is, obviously, laissez-faire capitalism.
"But neither politics nor ethics nor philosophy is an end in itself, neither in life nor in literature. Only Man is an end in himself."
Are there any substantial changes I would want to make in The Fountainhead? No--and, therefore, I have left its text untouched. I want it to stand as it was written. But there is one minor error and one possibly misleading sentence which I should like to clarify, so I shall mention them here.
The error is semantic: the use of the word "egotist" in Roark's courtroom speech, while actually the word should have been "egoist." The error was caused by my reliance on a dictionary which gave such misleading definitions of these two words that "egotist" seemed closer to the meaning I intended (Webster's Daily Use Dictionary, 1933). (Modern philosophers, however, are guiltier than lexicographers in regard to these two terms.)
The possibly misleading sentence is in Roark's speech: "From this simplest necessity to the highest religious abstraction, from the wheel to the skyscraper, everything we are and everything we have comes from a single attribute of man--the function of his reasoning mind."
This could be misinterpreted to mean an endorsement of religion or religious ideas. I remember hesitating over that sentence, when I wrote it, and deciding that Roark's and my atheism, as well as the overall spirit of the book, were so clearly established that no one would misunderstand it, particularly since I said that religious abstractions are the product of man's mind, not of supernatural revelation.
But an issue of this sort should not be left to implications. What I was referring to was not religion as such, but a special category of abstractions, the most exalted one, which, for centuries, had been the near-monopoly of religion: ethics--not the particular content of religious ethics, but the abstraction "ethics," the realm of values, man's code of good and evil, with the emotional connotations of height, uplift, nobility, reverence, grandeur, which pertain to the realm of man's values, but which religion has arrogated to itself.
The same meaning and considerations were intended and are applicable to another passage of the book, a brief dialogue between Roark and Hopton Stoddard, which may be misunderstood if taken out of context:
" 'You're a profoundly religious man, Mr. Roark--in your own way. I can see that in your buildings.'
" 'That's true,' said Roark."
In the context
of that scene, however, the meaning is clear: it is Roark's profound dedication to values, to the highest and best, to the ideal, that Stoddard is referring to (see his explanation of the nature of the proposed temple). The erection of the Stoddard Temple and the subsequent trial state the issue explicitly.
This leads me to a wider issue which is involved in every line of The Fountainhead and which has to be understood if one wants to understand the causes of its lasting appeal.
Religion's monopoly in the field of ethics has made it extremely difficult to communicate the emotional meaning and connotations of a rational view of life. Just as religion has pre-empted the field of ethics, turning morality against man, so it has usurped the highest moral concepts of our language, placing them outside this earth and beyond man's reach. "Exaltation" is usually taken to mean an emotional state evoked by contemplating the supernatural. "Worship" means the emotional experience of loyalty and dedication to something higher than man. "Reverence" means the emotion of a sacred respect, to be experienced on one's knees. "Sacred" means superior to and not-to-be-touched-by any concerns of man or of this earth. Etc.
But such concepts do name actual emotions, even though no supernatural dimension exists; and these emotions are experienced as uplifting or ennobling, without the self-abasement required by religious definitions. What, then, is their source or referent in reality? It is the entire emotional realm of man's dedication to a moral ideal. Yet apart from the man-degrading aspects introduced by religion, that emotional realm is left unidentified, without concepts, words or recognition.
It is this highest level of man's emotions that has to be redeemed from the murk of mysticism and redirected at its proper object: man.
It is in this sense, with this meaning and intention, that I would identify the sense of life dramatized in The Fountainhead as man-worship.
It is an emotion that a few--a very few--men experience consistently ; some men experience it in rare, single sparks that flash and die without consequences; some do not know what I am talking about; some do and spend their lives as frantically virulent spark-extinguishers.
Do not confuse "man-worship" with the many attempts, not to emancipate morality from religion and bring it into the realm of reason, but to substitute a secular meaning for the worst, the most profoundly irrational elements of religion. For instance, there are all the variants of modern collectivism (communist, fascist, Nazi, etc.), which preserve the religious-altruist ethics in full and merely substitute "society" for God as the beneficiary of man's self-immolation. There are the various schools of modern philosophy which, rejecting the law of identity, proclaim that reality is an indeterminate flux ruled by miracles and shaped by whims--not God's whims, but man's or "society's." These neo-mystics are not man-worshipers; they are merely the secularizers of as profound a hatred for man as that of their avowedly mystic predecessors.