The Journals of Ayn Rand (35 page)

Peter’s complete downfall. Short scene of his accepting an inferior commission, a home in the “Greek” style (“like his library”).

Toohey’s defeat and new plans, grander than ever.

Very shortly after the divorce, the question of the Wynand Building comes up. The time is considered “just right” in view of “the triumph.” The board of directors is in session to decide on the architectural competition for “the greatest building in the world.” This is Wynand’s last gesture. All that he has gathered of his spirit now goes into this—as a challenge to that new triumph which he hates. He rises. “Gentlemen, there will be no contest. I have chosen the architect who will do the Wynand Building. His name is Howard Roark.” Dead silence. The sole reaction is one choked hiccough from some unimportant little guy. Wynand looks at the stunned faces, pouncing on them ferociously: “Well? Has no one here anything to say? I take it that you approve of my choice, gentlemen?” In the silence, the editor gasps: “You’re mad, Gail!” Wynand whirls on him: “Why? Because he’s sleeping with my wife? Because I hate him more than any man living? And because he alone can give us the greatest building in the world? ... The matter is settled, gentlemen. I wish you a good day.” He leaves the conference room.

Nothing can sway Wynand in this, his last, his only real decision. To the frantic pleas of the editor, he answers only that he does not give a damn any more about “his public” and “his papers.” He has enough to live on. He doesn’t care whether the papers go on or fail. He has no heirs to leave them to. The public will accept it—he doesn’t care; the public won’t accept it—he cares less. But he will have this one thing out of his life, when he has lost all the rest; one thing that
he wants.

Roark is informed. He is called to Wynand’s office. He comes. Wynand meets him alone in his office, coldly, formally. There is no allusion to anything but the building. Wynand informs him briefly, generally of the requirements, the kind of building he wants from the angle of utility, its purpose. The rest is up to Roark. He will have an unlimited budget. There will be no orders given by anyone but him. He is to design and build it as he pleases. It is to be the greatest building in the world. He does not even have to submit his design for approval; it is approved in advance. If Roark accepts the job, he will find the contracts ready in the outer office; Wynand has signed them; all Roark has to do is to sign. Roark accepts. He is as calm, as cold, as unsur prised as is Wynand.

Then Wynand says, with a little different note in his voice: “I do not wish ever to see you again. I do not wish to speak to you. You will find my manager ready at any time for any orders you may want to give. I do not have to see you.” His hatred, almost his insult, is apparent. Roark agrees calmly. Then, without looking at him, Wynand says softly what that building had been intended to be and mean, how he had planned for it through the years, the crowning glory, the symbol of his life. He looks at Roark suddenly. He adds: “I have nothing to crown now, nothing to celebrate. I have nothing to go into that building—except what you’ll put into it.” He rises. His greatest moment. The sum and the summit of his life. Everything he has is in the words: “Build it as a monument to that spirit which is yours ... and ... could have been mine.”

About eight months later (less, if possible). Dominique returns from Europe. She has not written to Roark of her return. She goes to his office-he is at the Wynand Building. She goes to building. The steel skeleton is up. She stands looking at it. Then she notices a thing which makes her tremble suddenly and lean against a wall. She looks at the street, at the people around her. She feels suddenly the greatest of all events, the greatest of all triumphs, the victory of all the “great unsung” over all the filth of the pavements and those upon them; she sees all of society in a flash—and what it means; she sees all those whom it has crushed and passed by—and their vindication. She has seen a small, dirty tin plate nailed to the scaffolding of the Wynand Building:

She goes into the building. She is told that Roark is above, on top of the building. She takes an open freight elevator to go up. As it begins to rise slowly, we rise with her above the pavements, above the shops, the theaters, the houses, the church spires, above all that men do and are. (The writing accelerates here with the growing speed of the elevator as it rises.) She is above everything, with nothing but the sky and the distant ocean rising on the horizon. Then she sees, alone, tall, erect against the sky, Howard Roark on the top of the building, his red hair flying in the wind.

 

 

I. 1922-1928: Peter Keating
(6 years)

From graduation to Roark’s failure. The competition which Peter wins and his definite establishment. This is Peter’s story.
II. 1928-1931: Ellsworth M. Toohey
(3 years)

From quarry to start of summer resort project. The affair of Roark-Dominique. Dominique marries Peter. Roark-Toohey. This is Toohey’s story.
III. 1931-1935: Gail Wynand
(4 years)

No relations between Roark-Dominique. Roark’s slow rise. The summer resort project’s “J‘accuse”
[in reference to the discovery of the fraudulent investment scheme].
Dominique marries Wynand. Peter’s problems and beginning of downfall (the Exposition). Wynand’s story.
IV. 1935-1938: Howard Roark (3 years)

Roark’s commission for the Wynand Country House. Dominique’s regeneration. The housing project. The Ford Building. The trial. The Wynand Building. Roark’s story.

Roark and Toohey as the two poles of good and evil.

Everything that happens to the others in the book is according to the principles either of Roark or of Toohey. These principles are illustrated by the actions of the two men. In their relations to these two, and in the influence of these two, the [other] characters play out the drama which illustrates the two life-principles.

The others are: Dominique, Peter, Wynand.

Roark:
integrity, loyalty to yourself.

Toohey:
exist for, by and through others.

Roark brings out and encourages every form of truth to self. Toohey destroys every vestige of it, leaving about him a sterile desert.

 

 

Spring, 1922. Howard Roark alone in the mountains. His return to the city. The interview with the principal about his being expelled.

Same day. Peter Keating at the commencement celebration.

Same evening. Peter comes home. Vesta Dunning. Roark’s plan for their life together in New York.

In New York: the new household. Peter’s introduction into Francon’s office. Roark-old master [Henry Cameron]: first meeting, hired.

One week later. Roark’s first work for old master. Scene where Roark is fired—and their first real understanding. At home: Vesta-Roark. Peter.

Fall, 1922. Peter’s first accomplishments in the Francon office—professional and personal. The affair: Roark-Vesta.

Winter, 1922-23. Roark’s struggle with old master. Peter’s loves. The beginning of Vesta’s conflict with Roark.

Winter, 1923-24. Peter has moved out. Peter’s rise with Francon. Old master gives up.

Peter brings Roark to Francon’s office. The clashes. Mike.

Winter, 1925. Roark fired. Break with Vesta.

Beaux Arts bribe. Roark in new job.

Peter sees Dominique in Francon’s office.

Spring, 1926. Roark gets his first commission from the critic
[Austen Heller, whom she refers to as “Mencken ” in one cryptic note from this period].
Peters meets Dominique.

Summer, 1926. Peter’s attempts at romance with Dominique. Critic’s home finished. Public reaction—or lack of it.

Winter, 1926-27. Other commissions for Roark. His struggle. His second mistress
[Heddy Adler, who was later cut from the novel
]. The competition for the library.

Summer, 1927. Roark’s struggle.

Winter, 1928. Roark’s downfall. Staking all on one commission. He refuses his mistress’ proposal. Peter-Dominique, their kiss, her indifference. Peter beginning to dislike her definitely.

Spring, 1928. Peter wins the competition. Roark refuses to take commission he was counting on. Roark leaves for Connecticut. The party celebrating Peter’s partnership in Francon’s firm.

Toohey—past, present, future. Toohey and the Wynand paper. Dominique-Toohey, Peter-Toohey.
[Note added later:]
Incident about Roark’s building—“Independent as an insult, isn’t it?” [...]