The Fountainhead by Ayn Rand
My rating: 5 of 5 stars
I was first introduced to Ayn Rand about ten years ago. I found her works distasteful and naive… but I was largely also responding to what many of her fans were saying about her works, to support capitalism and conservativism. So imagine my surprise when I read this book, and found out that it was amazing.
Like Rand’s aesthetic, this book follows one over arching arc to explore as many facets of her philosophy as possible. To this end, her narrative is thick in order to create a world… though it is presented as a tour de force, an unstoppable motion.
The basic idea is that most people only acquire a sense of self through the creation of an ego, which is really the image that one maintains in order to position oneself among others. For Rand, this ego in most people, only exists through the validation of others. That is, most people are selfless in the sense that they can only find values mirroring and parroting one another. This externally based validation of the ego is similar to a cognitive psychology theory about the development of the ego. This theory is called spiral dynamics.
Rand’s exposition of ego and spiral dynamics share many things in common, although they aren’t the same. For example, Rand doesn’t explain how ego develops, or how it grows from nothing since infancy. (Spiral dynamics splits into two sets of stages, conventional and post-conventional.) While Rand does cover both sets of stages, this book feels stunted philosophically, in not covering how the ego develops. Still, Rand’s purpose is more illustrative and this book is great at exploring how people of different stages interact. Although Rand takes this idea literally, that some people are nothing more than their open attempt to pull validation from people by appeasing people, this book is still nonetheless interesting.
Validation from others comes from fitting in an image, being admired, being kind, being pleasant, being the complete image of status, success and sophistication. Often in real life, you do find people who lack some sense of self, and thus need to prove themselves. People who set out to prove themselves in all the conventional ways sometimes become successful, and it is those people who often become the leaders of our communities. This is why leadership is often conservative, because it needs the crowd it leads in order to define itself as leader. This is where Rand and political conservatives start to part, as for Rand, the internal image of a leader, as he sees himself, defines who he is, not the people he leads.
So whereas the main character and protagonist Howard Roake, finds himself a companion, Gail Wynand who is a “Creator” like him, Wynand occupies the position in what spiral dynamics calls the 4th stage, the last stand of conventionalism. Here, Wynand dominates the entire social landscape, although he never realizes it, his quest for power still creates an ego in him. His sense of self worth is based off of the money and power he’s attained, and in the end this explodes in his face when he tries to make use of it. Wynand ultimately realizes his true position, exactly that of the Hegelian Master-Slave dialectic (although Rand doesn’t use these terms), when he realizes that his leadership is based off of the crowd’s values, not his own. He is a mirror of other people’s values just like everyone else. The 4th stage is the stage when success itself is understood as still finding validation outside the self… Wynand at that moment transcends that stage and enters the post-conventional stages…in which the ego starts to break free of the undergrid of meaning which cages egos. Wynand faces the dissolution of the ego, which is inherent in the post-conventional stages.
What’s particularly interesting about reading the Fountainhead is how the characters navigate the social hierarchy within titles and dialogue. This is much like real life, in which people show their mettle through witty conversation. Being a novel though, the characters do understand one another directly in the language Rand has developed, and when they position themselves, there is much dialectical twisting, in the form of Hegelian dialectics, because the values in question are significant inasmuch as they are sometimes also absent. Rand realizes this same structure later on as in Atlas Shrugged when she names the sections of her book “non-contradiction”, “either/or” and “a=a” although, of course, the structure is loose (most likely as it comes from a text of fiction and not a purely philosophical text).
But I digress. The characters in the Fountainhead don’t change much. Most of what they do in change is self reflexive, much like real life. They realize what they are (like Peter Keating) and stay stagnant. Other than Wynand, the only other character to go through change is Dominique Falcon.
Falcon is a problematic character. She’s obviously supposed to be the female counterpart to Roake, but lacks herself any sense of being. In fact, for much of the novel she isn’t his equal, simply because she has an ego… one form or another, in most of the novel, she tries to kill it off. She does this by attempting to fit in the various roles she’s landed (through marriage mostly). And that’s basically her thing. Roake at least seems to have a thing that he is (architecture) but Falcon has nothing but her body and her image as a woman. In fact, as woman, she confines herself to being prosopopeia to her man, by erasing the self… which is to say, wholly to support her man’s ego. Perhaps this is why, in part, Rand decided to give her character Dagney Taggart from Atlas Shrugged a thing of her own.
This brings us to Howard Roake, who is the protagonist. He has no ego, cares not for what other people think of him, or what they think of at all. His embodiment is his work, and that’s all he is. He is 100% self. And this is where spiral dynamics and Rand part, at the last stage of post-conventionalism. If the self is wholly informed as to who it is, via the image of an ego, and the ego can only be the social position of a self in language, then says the theory, Roake cannot be as selfish as he is. Roake’s sense of person should dissolve in a major way, and be integrated into the experience of the universe… which is also missing from Rand… that ego and worldview are intimately tied. The less developed the ego, the more black and white the world. By assuming that the self is in fact completely separate from the world, and the world is obvious in its materiality, Rand has failed to take her understanding of selfhood far enough. In other words, even though Rand can see how language and social reality are intertwined with the ego and how the ego forms itself from the fabric of social reality, Rand fails to understand that all objects are in part languaged-objects and the external world is rightly, exists as it is only in service of humankind’s ability to create meaning, and define things in the world in terms of who we are… So when the ego changes who it is, the meaning of the self and world, and the world as the self sees it changes too.
In fact, his person taken literally, Roake should be nearly outside of language, incomprehensible in totality to all others… although in the novel he often says exactly what he is. Two alternate models of a self outside of language come to mind: Herman Meville’s “Bartleby, the Scrivener: A Story of Wall-street”, or an enlightened guru who has retreated to the tops of mountains to contemplate the eternal Tao (or something like that).
Of course, neither would make for a compelling story about ego relations in Depression era New York, so Rand decided to make Roake a solid self, a self that was completely architect, so that the reader can see him. And seeing him is important, so that in order to stablize the relations of ego, Rand has a language and a world that is full of consistent objects, not dissolved objects or selves with blurry post-conventional “ontologies”. In other words, the language of the Fountainhead is consistent because Rand needs to show us clearly how her characters interrelate in terms of ego and self, to hierarchialize her characters… which of course, maintaining social hierarchy is all about what stable unchanging controlled language is about, but alas, again I digress.
Also, don’t forget, that after all, architecture is the most resource intensive thing humans do, it’s also intersects political, economic and aesthetic interests… and has at its handle, all the range necessary for Rand to show off her ideas, which impact creation, industry, media, art, fashion, beauty, friendship and love.
So even while Rand doesn’t also show how the world changes with the self… her book still reads very well. Its driven, its clear and its engaging. After all, wasn’t it her goal in the first place to show how egos can change? Her goal is to show how most of humanity stumbles around on trying to please and placate itself while getting in the way of those few who seek progress. Having developed enough of a theory of ego, Rand does assume an external reality, one in which language is firmly what it is even if the ego isn’t, which is probably why all her characters and protagonists can exist as unchanging models on a never ending background. After all, if language changed depending on the strength of the ego, how would we understand who is winning? How would we understand what progress is, or what things mean? In this sense, Rand’s solid world, is a world that is the same no matter who is walking in it. Things will mean the same thing, because Rand means for us to see something in her novel greater than any of the characters independently.
It is by this measure of objectivity that a self unleashed by the bonds of society can be shown to be equal to the creative force of progress for the betterment of humanity… a triumph of human spirit… For if the background changes with the social tides it would be very easy to show that an individualist is simply the formation of a bad guy, which is the stance most socially free individuals tend to become… unless of course, society itself is ill… which in this case, society is in fact very very ill, making Howard Roake the hero and protagonist in extreme.
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