by Ayn Rand
"When did you decide to become an architect?"
"When I was ten years old."
"Men don't know what they want so early in life, if ever. You're lying."
"Am I?"
"Don't stare at me like that! Can't you look at something else? Why did you decide to be an architect?"
"I didn't know it then. But it's because I've never believed in God."
"Come on, talk sense."
"Because I love this earth. That's all I love. I don't like the shape of things on this earth. I want to change them."
"For whom?"
"For myself."
"How old are you?"
"Twenty-two."
"Where did you hear all that?"
"I didn't."
"Men don't talk like that at twenty-two. You're abnormal."
"Probably."
"I didn't mean it as a compliment."
"I didn't either."
"Got any family?"
" No."
"Worked through school?"
"Yes."
"At what?"
"In the building trades."
"How much money have you got left?"
"Seventeen dollars and thirty cents."
"When did you come to New York?"
"Yesterday."
Cameron looked at the white pile under his fist.
"God damn you," said Cameron softly.
"God damn you!" roared Cameron suddenly, leaning forward. "I didn't ask you to come here! I don't need any draftsmen! There's nothing here to draft! I don't have enough work to keep myself and my men out of the Bowery Mission! I don't want any fool visionaries starving around here! I don't want the responsibility. I didn't ask for it. I never thought I'd see it again. I'm through with it. I was through with that many years ago. I'm perfectly happy with the drooling dolts I've got here, who never had anything and never will have and it makes no difference what becomes of them. That's all I want. Why did you have to come here? You're setting out to ruin yourself, you know that, don't you? And I'll help you to do it. I don't want to see you. I don't like you. I don't like your face. You look like an insufferable egotist. You're impertinent. You're too sure of yourself. Twenty years ago I'd have punched your face with the greatest of pleasure. You're coming to work here tomorrow at nine o'clock sharp."
"Yes," said Roark, rising.
"Fifteen dollars a week. That's all I can pay you."
"Yes."
"You're a damn fool. You should have gone to someone else. I'll kill you if you go to anyone else. What's your name?"
"Howard Roark."
"If you're late, I'll fire you."
"Yes."
Roark extended his nand for the drawings.
"Leave these here!" bellowed Cameron. "Now get out!"
IV
"TOOHEY," SAID GUY FRANCON, "ELLSWORTH TOOHEY. PRETTY decent of him, don't you think? Read it, Peter."
Francon leaned jovially across his desk and handed to Keating the August issue of New Frontiers. New Frontiers had a white cover with a black emblem that combined a palette, a lyre, a hammer, a screw driver and a rising sun; it had a circulation of thirty thousand and a following that described itself as the intellectual vanguard of the country; no one had ever risen to challenge the description. Keating read from an article entitled "Marble and Mortar," by Ellsworth M. Toohey:
"... And now we come to another notable achievement of the metropolitan skyline. We call the attention of the discriminating to the new Melton Building by Francon & Heyer. It stands in white serenity as an eloquent witness to the triumph of Classical purity and common sense. The discipline of an immortal tradition has served here as a cohesive factor in evolving a structure whose beauty can reach, simply and lucidly, the heart of every man in the street. There is no freak exhibitionism here, no perverted striving for novelty, no orgy of unbridled egotism. Guy Francon, its designer, has known how to subordinate himself to the mandatory canons which generations of craftsmen behind him have proved inviolate, and at the same time how to display his own creative originality, not in spite of, but precisely because of the classical dogma he has accepted with the humility of a true artist. It may be worth mentioning, in passing, that dogmatic discipline is the only thing which makes true originality possible....
"More important, however, is the symbolic significance of a building such as this rising in our imperial city. As one stands before its southern facade, one is stricken with the realization that the stringcourses, repeated with deliberate and gracious monotony from the third to the eighteenth story, these long, straight, horizontal lines are the moderating, leveling principle, the lines of equality. They seem to bring the towering structure down to the humble level of the observer. They are the lines of the earth, of the people, of the great masses. They seem to tell us that none may rise too high above the restraint of the common human level, that all is held and shall be checked, even as this proud edifice, by the stringcourses of men's brotherhood...."
There was more. Keating read it all, then raised his head. "Gee!" he said, awed.
Francon smiled happily.
"Pretty good, eh? And from Toohey, no less. Not many people might have heard the name, but they will, mark my word, they will. I know the signs.... So he doesn't think I'm so bad? And he's got a tongue like an icepick, when he feels like using it. You should see what he says about others, more often than not. You know Durkin's latest mousetrap? Well, I was at a party where Toohey said--" Francon chuckled--"he said: 'If Mr. Durkin suffers under the delusion that he is an architect, someone should mention to him the broad opportunities offered by the shortage of skilled plumbers.' That's what he said, imagine, in public!"
"I wonder," said Keating wistfully, "what he'll say about me, when the time comes."
"What on earth does he mean by that symbolic significance stuff and the stringcourses of men's brotherhood? ... Oh, well, if that's what he praises us for, we should worry!"
"It's the critic's job to interpret the artist, Mr. Francon, even to the artist himself. Mr. Toohey has merely stated the hidden significance that was subconsciously in your own mind."
"Oh," said Francon vaguely. "Oh, do you think so?" he added brightly. "Quite possible.... Yes, quite possible.... You're a smart boy, Peter."
"Thank you, Mr. Francon," Keating made a movement to rise.
"Wait. Don't go. One more cigarette and then we'll both return to the drudgery."
Francon was smiling over the article, reading it again. Keating had never seen him so pleased; no drawing in the office, no work accomplished had ever made him as happy as these words from another man on a printed page to be read by other eyes.
Keating sat easily in a comfortable chair. His month with the firm had been well spent. He had said nothing and done nothing, but the impression had spread through the office that Guy Francon liked to see this particular boy sent to him whenever anyone had to be sent. Hardly a day passed without the pleasant interlude of sitting across the desk from Guy Francon, in a respectful, growing intimacy, listening to Francon's sighs about the necessity of being surrounded by men who understood him.
Keating had learned all he could learn about Guy Francon, from his fellow draftsmen. He had learned that Guy Francon ate moderately and exquisitely, and prided himself on the title of gourmet; that he had graduated with distinction from the Ecole des Beaux Arts; that he had married a great deal of money and that the marriage had not been a happy one; that he matched meticulously his socks with his handkerchiefs, but never with his neckties; that he had a great preference for designing buildings of gray granite; that he owned a quarry of gray granite in Connecticut, which did a thriving business; that he maintained a magnificent bachelor apartment done in plum-colored Louis XV; that his wife, of a distinguished old name, had died, leaving her fortune to their only daughter; that the daughter, now nineteen, was away at college.
These last facts interested Keating a great deal. He mentioned to Francon, tentatively, in passing, the subject of hi
s daughter. "Oh, yes ..." Francon said thinly. "Yes, indeed ..." Keating abandoned all further research into the matter, for the time being; Francon's face had declared that the thought of his daughter was painfully annoying to him, for some reason which Keating could not discover.
Keating had met Lucius N. Heyer, Francon's partner, and had seen him come to the office twice in three weeks, but had been unable to learn what service Heyer rendered to the firm. Heyer did not have haemophilia, but looked as though he should have it. He was a withered aristocrat, with a long, thin neck, pale, bulging eyes and a manner of frightened sweetness toward everyone. He was the relic of an ancient family, and it was suspected that Francon had taken him into partnership for the sake of his social connections. People felt sorry for poor dear Lucius, admired him for the effort of undertaking a professional career, and thought it would be nice to let him build their homes. Francon built them and required no further service from Lucius. This satisfied everybody.
The men in the drafting rooms loved Peter Keating. He made them feel as if he had been there for a long time; he had always known how to become part of any place he entered; he came soft and bright as a sponge to be filled, unresisting, with the air and the mood of the place. His warm smile, his gay voice, the easy shrug of his shoulders seemed to say that nothing weighed too much within his soul and so he was not one to blame, to demand, to accuse anything.
As he sat now, watching Francon read the article, Francon raised his head to glance at him. Francon saw two eyes looking at him with immense approval--and two bright little points of contempt in the corners of Keating's mouth, like two musical notes of laughter visible the second before they were to be heard. Francon felt a great wave of comfort. The comfort came from the contempt. The approval, together with that wise half-smile, granted him a grandeur he did not have to earn; a blind admiration would have been precarious; a deserved admiration would have been a responsibility; an undeserved admiration was precious.
"When you go, Peter, give this to Miss Jeffers to put in my scrapbook."
On his way down the stairs, Keating flung the magazine high in the air and caught it smartly, his lips pursed to whistle without sound.
In the drafting room he found Tim Davis, his best friend, slouched despondently over a drawing. Tim Davis was the tall, blond boy at the next table, whom Keating had noticed long ago, because he had known, with no tangible evidence, but with certainty, as Keating always knew such things, that this was the favored draftsman of the office. Keating managed to be assigned, as frequently as possible, to do parts of the projects on which Davis worked. Soon they were going out to lunch together, and to a quiet little speak-easy after the day's work, and Keating was listening with breathless attention to Davis' talk about his love for one Elaine Duffy, not a word of which Keating ever remembered afterward.
He found Davis now in black gloom, his mouth chewing furiously a cigarette and a pencil at once. Keating did not have to question him. He merely bent his friendly face over Davis' shoulder. Davis spit out the cigarette and exploded. He had just been told that he would have to work overtime tonight, for the third time this week.
"Got to stay late, God knows how late! Gotta finish this damn tripe tonight!" He slammed the sheets spread before him. "Look at it! Hours and hours and hours to finish it! What am I going to do?"
"Well, it's because you're the best man here, Tim, and they need you."
"To hell with that! I've got a date with Elaine tonight! How'm I going to break it? Third time! She won't believe me! She told me so last time! That's the end! I'm going up to Guy the Mighty and tell him where he can put his plans and his job! I'm through!"
"Wait," said Keating, and leaned closer to him. "Wait! There's another way. I'll finish them for you."
"Huh?"
"I'll stay. I'll do them. Don't be afraid. No one'll tell the difference."
"Pete! Would you?"
"Sure. I've nothing to do tonight. You just stay till they all go home, then skip."
"Oh, gee, Pete!" Davis sighed, tempted. "But look, if they find out, they'll can me. You're too new for this kind of job."
"They won't find out."
"I can't lose my job, Pete. You know I can't. Elaine and I are going to be married soon. If anything happens ..."
"Nothing will happen."
Shortly after six, Davis departed furtively from the empty drafting room, leaving Keating at his table.
Bending under a solitary green lamp, Keating glanced at the desolate expanse of three long rooms, oddly silent after the day's rush, and he felt that he owned them, that he would own them, as surely as the pencil moved in his hand.
It was half past nine when he finished the plans, stacked them neatly on Davis' table, and left the office. He walked down the street, glowing with a comfortable, undignified feeling, as though after a good meal. Then the realization of his loneliness struck him suddenly. He had to share this with someone tonight. He had no one. For the first time he wished his mother were in New York. But she had remained in Stanton, awaiting the day when he would be able to send for her. He had nowhere to go tonight, save to the respectable little boarding house on West Twenty-Eighth Street, where he could climb three flights of stairs to his clean, airless little room. He had met people in New York, many people, many girls, with one of whom he remembered spending a pleasant night, though he could not remember her last name; but he wished to see none of them. And then he thought of Catherine Halsey.
He had sent her a wire on the night of his graduation and forgotten her ever since. Now he wanted to see her; the desire was intense and immediate with the first sound of her name in his memory. He leaped into a bus for the long ride to Greenwich Village, climbed to the deserted top and, sitting alone on the front bench, cursed the traffic lights whenever they turned to red. It had always been like this where Catherine was concerned; and he wondered dimly what was the matter with him.
He had met her a year ago in Boston, where she had lived with her widowed mother. He had found Catherine homely and dull, on that first meeting, with nothing to her credit but her lovely smile, not a sufficient reason ever to see her again. He had telephoned her the next evening. Of the countless girls he had known in his student years she was the only one with whom he had never progressed beyond a few kisses. He could have any girl he met and he knew it; he knew that he could have Catherine; he wanted her; she loved him and had admitted it simply, openly, without fear or shyness, asking nothing of him, expecting nothing; somehow, he had never taken advantage of it. He had felt proud of the girls whom he escorted in those days, the most beautiful girls, the most popular, the best dressed, and he had delighted in the envy of his schoolmates. He had been ashamed of Catherine's thoughtless sloppiness and of the fact that no other boy would look at her twice. But he had never been as happy as when he took her to fraternity dances. He had had many violent loves, when he swore he could not live without this girl or that; he forgot Catherine for weeks at a time and she never reminded him. He had always come back to her, suddenly, inexplicably, as he did tonight.
Her mother, a gentle little schoolteacher, had died last winter. Catherine had gone to live with an uncle in New York. Keating had answered some of her letters immediately, others--months later. She had always replied at once, and never written during his long silences, waiting patiently. He had felt, when he thought of her, that nothing would ever replace her. Then, in New York, within reach of a bus or a telephone, he had forgotten her again for a month.
He never thought, as he hurried to her now, that he should have announced his visit. He never wondered whether he would find her at home. He had always come back like this and she had always been there. She was there again tonight.
She opened the door for him, on the top floor of a shabby, pretentious brownstone house. "Hello, Peter," she said, as if she had seen him yesterday.
She stood before him, too small, too thin for her clothes. The short black skirt flared out from the slim band of her waist; the boyish
shirt collar hung loosely, pulled to one side, revealing the knob of a thin collarbone; the sleeves were too long over the fragile hands. She looked at him, her head bent to one side; her chestnut hair was gathered carelessly at the back of her neck, but it looked as though it were bobbed, standing, light and fuzzy, as a shapeless halo about her face. Her eyes were gray, wide and nearsighted; her mouth smiled slowly, delicately, enchantingly, her lips glistening.
"Hello, Katie," he said.
He felt at peace. He felt he had nothing to fear, in this house or anywhere outside. He had prepared himself to explain how busy he'd been in New York; but explanations seemed irrelevant now.
"Give me your hat," she said, "be careful of that chair, it's not very steady, we have better ones in the living room, come in."
The living room, he noticed, was modest but somehow distinguished, and in surprisingly good taste. He noticed the books; cheap shelves rising to the ceiling, loaded with precious volumes; the volumes stacked carelessly, actually being used. He noticed, over a neat, shabby desk, a Rembrandt etching, stained and yellow, found, perhaps, in some junk shop by the eyes of a connoisseur who had never parted with it, though its price would have obviously been of help to him. He wondered what business her uncle could be in; he had never asked.
He stood looking vaguely at the room, feeling her presence behind him, enjoying that sense of certainty which he found so rarely. Then he turned and took her in his arms and kissed her; her lips met his softly, eagerly; but she was neither frightened nor excited, too happy to accept this in any way save by taking it for granted.
"God, I've missed you!" he said, and knew that he had, every day since he'd seen her last and most of all, perhaps, on the days when he had not thought of her.
"You haven't changed much," she said. "You look a little thinner. It's becoming. You'll be very attractive when you're fifty, Peter."
"That's not very complimentary--by implication."
"Why? Oh, you mean I think you're not attractive now? Oh, but you are."
"You shouldn't say that right out to me like that."
"Why not? You know you are. But I've been thinking of what you'll look like at fifty. You'll have gray temples and you'll wear a gray suit--I saw one in a window last week and I thought that would be the one-and you'll be a very great architect."