The Fountainhead [Paperback]

Ayn Rand (Author, Afterword)

Book Description

Release date: November 1, 1994

When The Fountainhead was first published, Ayn Rand's daringly original literary vision and her groundbreaking philosophy, Objectivism, won immediate worldwide interest and acclaim. This instant classic is the story of an intransigent young architect, his violent battle against conventional standards, and his explosive love affair with a beautiful woman who struggles to defeat him. This edition contains a special Afterword by Rand's literary executor, Leonard Peikoff which includes excerpts from Ayn Rand's own notes on the making of The Fountainhead. As fresh today as it was then, here is a novel about a hero--and about those who try to destroy him.

Editorial Reviews

Amazon.com Review

The Fountainhead has become an enduring piece of literature, more popular now than when published in 1943. On the surface, it is a story of one man, Howard Roark, and his struggles as an architect in the face of a successful rival, Peter Keating, and a newspaper columnist, Ellsworth Toohey. But the book addresses a number of universal themes: the strength of the individual, the tug between good and evil, the threat of fascism. The confrontation of those themes, along with the amazing stroke of Rand's writing, combine to give this book its enduring influence.

Review

Ayn Rand is a writer of great power. She has a subtle and ingenious mind and the capacity of writing brilliantly, beautifully, bitterly. -- The New York Times Book Review, Lorine Pruette

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Product Details

• Paperback: 752 pages
• Publisher: Plume; CENTENNIAL EDITION edition (November 1, 1994)
• Language: English
• ISBN-10: 0452273331
• ISBN-13: 978-0452273337
• Product Dimensions: 9 x 6 x 1.6 inches
• Shipping Weight: 1.7 pounds (View shipping rates and policies)
• Average Customer Review: 4.1 out of 5 stars  See all reviews (1,250 customer reviews)
• Amazon Best Sellers Rank: #2,073 in Books (See Top 100 in Books)

More About the Author

Ayn Rand's first novel, We the Living, was published in 1936. With the publication of The Fountainhead in 1943, she achieved spectacular and enduring success. Through her novels and nonfiction writings, which express her unique philosophy, Objectivism, Rand maintains a lasting influence on popular thought.

Amazon Author Rankbeta 

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#5 in Books > Literature & Fiction > Classics

#55 in Books > Literature & Fiction > Literary

#5 in Books > Literature & Fiction > Classics

#55 in Books > Literature & Fiction > Literary

Most Helpful Customer Reviews

531 of 593 people found the following review helpful

5.0 out of 5 stars Brilliant despite stilted dialogue March 9, 2001

By David E. Levine

Format:Mass Market Paperback

This is one of the fastest paced books I have ever read. Ayn Rand's characters come to life as she paints very clear pictures of who they are and what they represent. She does this in spite of the fact that the dialogue is sometimes a bit wooden and stilted. In this novel, she sets forth her philosophy of "objectivism." She exposes those, such as a character named Peter Keating, an architect, who seemingly achieve greatness by copying others but somehow give the illusion of originality and creativity. In order to achieve "greatness," Keating was literally willing to sell anything, including his wife. Thus despite wealth and apparant achievement, his life was empty. Rand begins to formulate her values that altruism is an evil because a society which seeks to achieve this must do so at someone's expense and therefore leads to collectivism. In the person of Ellsworth Toohey, a flamboyant newspaper columnist, she shows how the power hungry manipulate the masses by setting a standard of mediocrity which fosters collectivism.

This book is full of passion, including a flaming, complex romantic affair between individualist architect Howard Roarke and socialite Dominique Francon. Their relationship develops from one in which they each seek to assert power over the other while achieving sexual release to one of true love between genuine soul mates. Roarke also has a passion for his work and is uncompromising in his creativity in accomplishing his professional goals. He will not ever compromise these goals despite enormous pressures to do so. Rand believed that there is only black and white in moral issues; there is no gray. Therefore, giving in a little is not compromise but rather, selling out your values and giving in to evil. Roarke was not a man to sell out, he had the courage of his convictions.

While setting forth her philosophy, Rand has also given us a novel which has a well developed plot. I found the novel to be gripping and I couldn't put it down. Following the career of Howard Roarke and the machinations of his enemies was fascinating. The plot had enough twists to provide surprises and to hold the reader's interest. This book is both an enjoyable novel as well as a challenging philosophical statement. I like Rand's philosophy and I love this book.

549 of 648 people found the following review helpful

3.0 out of 5 stars Brilliant, very flawed work by brilliant, very flawed woman February 3, 2003

By Cathy Young

Format:Mass Market Paperback

Funny how most of the reviews are either unqualified adulation from Rand worshipers or slams from Rand haters. IMO, "The Fountainhead" is neither a prophetic work of great genius nor a piece of evil tripe. It is a brilliant work, perhaps even with flashes of genius -- but as flawed as its author.

I think Rand had the potential to be a great novelist, which she largely ruined when she decided she was the world's greatest philosopher since Aristotle. Any dogma is the enemy of art. If you read Rand's three major novels -- "We the Living", "The Fountainhead", and "Atlas Shrugged" -- you can see her dogma becoming more and more rigid, and her characters less and less human. "The Fountainhead" is a novel you can still appreciate even if you don't agree with the philosophy (and I think the philosophy has some excellent points, just taken to an absurd extreme).

Unlike some reviewers here, I don't find Howard Roark to be completely inhuman. He does feel pain -- not only the pain of his own struggle but of his mentor Henry Cameron and his friend Steve Mallory, the sculptor. It's just that, as Rand says, the pain "only goes down to a certain point" because it can't touch the core of his independent soul. But consider this passage when Dominique tells Roark she has married Peter Keating: "It would have been easy, if she had seen a man distorting his mouth to bite off sound, closing his fists and twisting them in defense against himself. But it was not easy, because she did not see him doing this, yet knew that this was being done, without the relief of a physical gesture." Clearly this is a man who feels and suffers. He can feel sympathy as well: for Gail Wynand, even for Peter Keating.

At that stage, Rand herself was still capable of sympathy for less-than-perfect characters. Guy Francon, Dominique's father, is an opportunist -- but ultimately still more a good than a bad guy. His relationship with his daughter, sparsely depicted, is nonetheless very "real" and touching. Even Keating, the ultimate "second-hander" and in many ways a despicable man, is to some extent sympathetic and is shown as having some good in him. His failed romance with his true love, Katie, is very poignant -- and the scene near the end where he meets her years after dumping her, when she has "gotten over" him and lost her humanity, is truly heartbreaking. (Though her loss of humanity and selfhood is a little too complete.)

Gail Wynand is a fascinating, tragic character throughout -- and in a way, his relationship with Dominique is more interesting than the Howard/Dominique romance. The story of his childhood and his rise in the newspaper industry is absorbing and very well-written.

Some reviewers mention stilted dialogue. I don't agree. Yes, there are long passages where the characters preach/philosophize instead of talking, and become nothing but vehicles for Rand's ideas. But apart from that, the dialogue is mostly dynamic, crisp, and quite believable (e.g. the first meeting between Wynand and Dominique).

Rand also has a terrific descriptive style. Take this passage describing the aftermath of rain: "The pavements glistened, there were dark blotches on the walls of buildings, and since it did not come from the sky, it looked as if the city were bathed in cold sweat. The air was heavy with untimely darkness, disquieting like premature old age, and there were yellow puddles of light in the windows."

And there are wonderful, memorable lines; one of my favorites is, "All love is exception-making."

Now the flaws. The character of Dominique, particularly in the first half of the book, is not very plausible. I don't "get" her masochism, the wallowing in her degradation at Roark's hands in their first encounter. (And yes, it was definitely rape -- Dominique herself repeatedly describes it as such.) Her motives for trying to destroy Roark's career when she has already realized she loves him never feel "real," no matter how Rand tries to rationalize them. I enjoy twisted love-hate relationships as much as the next gal (one of my favorite books is "Wuthering Heights") but this is twisted beyond plausibility. (Dominique becomes much more believable in the second half of the book, though; the scene where she finally comes back to Roark is great.)

Ellsworth Toohey with his grandiose plans for world power is even more implausible. And the idea that the dumbing down of culture is some sort of deliberate plot to pass off mediocre works as great ones in order to debase cultural standards ... puh-leeze.

Rand has an annoying tendency to restate every idea a dozen times and hammer the reader over the head with it. Eventually you just want to shout, "All right, Ayn -- I got the point!"

As for the philosophy -- yes, the occasional super-individualist like Howard Roark is great. A lot of great geniuses, including apparently Leonardo da Vinci, didn't have the "people" gene. But if everyone behaved like that ... I'm not sure it would be such a great world to live in. No matter how much Rand might pretend otherwise, her worship of the great man does have a flip side of contempt for the mass of humanity. See Wynand's comment to Dominique, "One can't love man without hating most of the creatures who pretend to bear his name." That's scary. So is Rand's palpable disgust for the imperfections of unheroic human (and particularly female) flesh.

A readable, thought-provoking book, but hardly a guide to life. Read it -- but with a critical mind.

129 of 149 people found the following review helpful

5.0 out of 5 stars One small voice, mine. October 4, 2001

By Ruth Dubb

Format:Mass Market Paperback

Read just about any four or five star customer review and you have a fine summary of this book. It is not necessary for me to repeat what has already been said. I myself would like to talk about the individual characters which keep me rereading this book as much as the philosophy does. Roark, Keating, Toohey (shudder), Dominique, etc., all represent facets of humanity, good and evil. But characters like Keating and Wynand are more complex than the characters in Atlas Shrugged. Yes, they are Randian archetypes but they have taught me much about human nature.

Keating, had he a little more backbone, might have actually been able to make something of himself. Unlike the villains of AS, he was somewhat sympathetic. He was in love with Catherine, a woman who may not have possessed the glamor and poise of Dominique but who was right for him simply because they were happy when they were together. Fool that he was, he instead opted for what he thought he was supposed to, just as he chose architecture over his true calling, painting. His story is a lesson for all of us. To detractors of the book who call it contemptuous of people I say you don't HAVE to be this way. Don't be a Peter Keating. It is up to you.

Ellsworth Toohey is a villain for the ages, somebody you just love to hate. I won't even describe him as a man. I relish the creepy, slimy feeling I get rereading the passages about him. Every patronizing, smarmy sentence that comes out of his mouth is designed to make one cringe. The fact that he DOESN'T seek out wealth, or even happiness, makes him all the worse.

It is through him and this book that I learned what is evil: holding society and "the greater good" over the individual. Now, whenever I read or watch the news, I am acutely aware of the malice in people who would say they are trying to protect society when their actions result in harm to an individual, or worse, equate society with an individual as I recently heard from a prominent proponent of the death penalty. Again, he is a lesson to all of us: beware the Ellsworth Tooheys of the world. They are out there.

Rand wrote Roark as the ideal man. He certainly is that. I could never expect to be as he is but I firmly believe that he is something to strive for. He had the courage of his convictions. He did not care what other people thought, except those whose opinions mattered to him, such as his mentor, Cameron. Such is the lesson I learned from him. If I find myself jealous or resentful of somebody, I asked myself what my weakness is because fear of one's own shortcomings is from whence hatred and jealousy arise.

If it is difficult to relate to a man who does not even see you, as he is frequently described, consider for a moment why it is important for him to see you and why you feel your own worth is based on how others see you. Then consider the friends that he makes in the book, competent and intelligent people who feel about the world as he does. And finally consider what true friendship is. It is not alms to be doled out in the name of compassion. It is respect and love for those whom we enjoy having around us.

Dominique Francon is a strange bird (Rand said that Dominique was her in a bad mood). Her motivations are complex but when I think about them, they make sense to me. I see her as somebody who has so much contempt for the world that she doesn't think it deserves a man like Roark (or a woman like her). Hence the reason she works against Roark, not to deprive Roark of a living but to deprive the world of Roark. Clarifying the reasons behind her actions also clarifies that controversial rape scene. It is the ideal man saying to the ideal but obstinate woman that the world cannot destroy him. They spar violently to show how strong they are.

Gail Wynand is less interesting to me but an intriguing character nonethless, the man who could have been. He had the drive and the intelligence but, like Dominique, too much contempt. His contempt for humanity at least was purer and cleaner than Toohey's love for humanity. I wonder if, had his childhood not been so brutal, he might have gone a different direction. But then I think that had Roark had a brutal childhood, he still would have come out the same. Such is Wynand's weakness. A sad waste, really.

Atlas Shrugged is THE definitive Rand book. I myself certainly feel this way. Nevertheless, The Fountainhead has virtues that one does not find in that mighty tome. As in AS the characters are largely archetypes but interesting in different ways. Even though Atlas Shrugged is several hundred pages longer than The Fountainhead, it also feels more streamlined. The characters are more complex in the latter (except, admittedly, for Roark), maybe because where Atlas Shrugged deals in the steel and railroad industries, The Fountainhead deals in the more aestetic field of architecture which, incidentally, Rand describes beautifully.