American Novels

"Why do they always teach us that it's easy and evil to do what we want and that we need discipline to restrain ourselves? It's the hardest thing in the world—to do what we want. And it takes the greatest kind of courage. I mean, what we really want."

""This is pity," he thought, and then he lifted his head in wonder. He thought that there must be something terribly wrong with a world in which this monstrous feeling is called a virtue."

"I don't make comparisons. I never think of myself in relation to anyone else. I just refuse to measure myself as part of anything."

"You'll get everything society can give a man. You'll keep all the money. You'll take any fame or honor anyone might want to grant. You'll accept such gratitude as the tenants might feel. And I—I'll take what nobody can give a man, except himself. I will have built Cortlandt." "You’re getting more than I am, Howard."

"The only thing that matters, my goal, my reward, my beginning, my end is the work itself. My work done my way."

"To get things done, you must love the doing, not the secondary consequences. The work, not the people. Your own action, not any possible object of your charity."

"To sell your soul is the easiest thing in the world. That's what everybody does every hour of his life. If I asked you to keep your soul—would you understand why that's much harder?"

"One loses everything when one loses one's sense of humor."

"Worry is a waste of emotional reserves."

"When she had gone upstairs, he walked to a window and stood looking up at the sky. His head thrown back, he felt the pull of his throat muscles and he wondered whether the peculiar solemnity of looking at the sky comes, not from what one contemplates, but from that uplift of one's head."

"Look, Gail." Roark got up, reached out, tore a thick branch off a tree, held it in both hands, one fist closed at each end; then, his wrists and knuckles tensed against the resistance, he bent the branch slowly into an arc. "Now I can make what I want of it: a bow, a spear, a cane, a railing. That's the meaning of life." "Your strength?" "Your work." He tossed the branch aside. "The material the earth offers you and what you make of it . . ."

"I am Gail Wynand, the man who has committed every crime except the foremost one: that of ascribing futility to the wonderful fact of existence and seeking justification beyond myself."

"I regret nothing. There have been things I missed, but I ask no questions, because I have loved it, such as it has been, even the moments of emptiness, even the unanswered—and that I loved it, that is the unanswered in my life."

"There's so much nonsense about human inconstancy and the transience of all emotions. I've always thought that a feeling which changes never existed in the first place. There are books I liked at the age of sixteen. I still like them."

"What you feel in the presence of a thing you admire is just one word—'Yes.' The affirmation, the acceptance, the sign of admittance. And that 'Yes' is more than an answer to one thing, it's a kind of 'Amen' to life, to the earth that holds this thing, to the thought that created it, to yourself for being able to see it. But the ability to say 'Yes' or 'No' is the essence of all ownership. It's your ownership of your own ego. Your soul, if you wish. Your soul has a single basic function—the act of valuing. 'Yes' or 'No,' 'I wish' or 'I do not wish.' You can't say 'Yes' without saying 'I.' There's no affirmation without the one who affirms. In this sense, everything to which you grant your love is yours. [...] "Howard, that 'Yes'—once granted, can it be withdrawn?" "Never."

"I don't work with collectives. I don't consult, I don't co-operate, I don't collaborate."

"It takes two to make a very great career: The man who is great, and the man—almost rarer—who is great enough to see greatness and say so."

"He had always wanted to write music, and he could give no other identity to the thing he sought. If you want to know what it is, he told himself, listen to the first phrases of Tchaikovsky's "First Concerto"—or to the last movement of Rachmaninoff's Second. Men have not found the words for it nor the deed nor the thought, but they have found the music. Let me see that in one single act of man on earth. Let me see it made real. Let me see the answer to the promise of that music. Not servants nor those served; not altars and immolations; but the final, the fulfilled, innocent of pain. Don't help me or serve me, but let me see it once, because I need it. Don't work for my happiness, my brothers—show me yours—show me that it is possible—show me your achievement—and the knowledge will give me courage for mine."

"I love you, Dominique. I love you so much that nothing can matter to me—not even you. Can you understand that? Only my love—not your answer. Not even your indifference. I've never taken much from the world. I haven't wanted much. I've never really wanted anything. Not in the total, undivided way, not with the kind of desire that becomes an ultimatum, 'yes' or 'no,' and one can't accept the 'no' without ceasing to exist. That's what you are to me. But when one reaches that stage, it's not the object that matters, it's the desire. Not you, but I. The ability to desire like that. Nothing less is worth feeling or honoring. And I've never felt that before. Dominique, I've never known how to say 'mine' about anything. Not in the sense I say it about you. Mine. Did you call it a sense of life as exaltation? You said that. You understand. I can't be afraid. I love you, Dominique—I love you—you're letting me say it now—I love you."

"The hardest thing to explain is the glaringly evident which everybody has decided not to see."

"You can't fight him on his terms. You're only a tank—and that's a very clean, innocent weapon. An honest weapon that goes first, out in front, and mows everything down or takes every counterblow. He's a corrosive gas. The kind that eats lungs out."

"[...] love is exception-making."

"Patience is always rewarded and romance is just around the corner."

"Writing is a serious business and not for any stray bastard that wants to try it."

"I love doing it. Every building is like a person. Single and unrepeatable."

"She thought how strange it would be if she ever said "Hello" to him; one did not greet oneself each morning."

"I often think that he's the only one of us who's achieved immortality. I don't mean in the sense of fame and I don't mean that he won't die some day. But he's living it. I think he is what the conception really means. You know how people long to be eternal. But they die with every day that passes. When you meet them, they're not what you met last. In any given hour, they kill some part of themselves. They change, they deny, they contradict—and they call it growth. At the end there's nothing left, nothing unreversed or unbetrayed; as if there had never been an entity, only a succession of adjectives fading in and out on an unformed mass. How do they expect a permanence which they have never held for a single moment? But Howard—one can imagine him lasting forever."

"I would give the greatest sunset in the world for one sight of New York's skyline. Particularly when one can't see the details. Just the shapes. The shapes and the thought that made them. The sky over New York and the will of man made visible. What other religion do we need? And then people tell me about pilgrimages to some dank pesthole in a jungle where they go to do homage to a crumbling temple, to a leering stone monster with a pot belly, created by some leprous savage. Is it beauty and genius they want to see? Do they seek a sense of the sublime? Let them come to New York, stand on the shore of the Hudson, look and kneel. When I see the city from my window—no, I don't feel how small I am—but I feel that if a war came to threaten this, I would like to throw myself into space, over the city, and protect these buildings with my body."

"You've never felt how small you were when looking at the ocean." He laughed. "Never. Nor looking at the planets. Nor at mountain peaks. Nor at the Grand Canyon. Why should I? When I look at the ocean, I feel the greatness of man. I think of man's magnificent capacity that created this ship to conquer all that senseless space. When I look at mountain peaks, I think of tunnels and dynamite. When I look at the planets, I think of airplanes."

"The luxury was secondary, a background so proper to him that it could be ignored. The man humbled his own wealth. She had seen people of wealth, stiff and awed before that which represented their ultimate goal. The splendor of this place was not the aim, not the final achievement of the man who leaned casually across the table. She wondered what his aim had been."

"You're called a hater of humanity, Mrs. Keating, because you've committed the crime of knowing a love humanity has not learned to deserve."

"[...] love is reverence, and worship, and glory, and the upward glance. Not a bandage for dirty sores. But they don't know it. Those who speak of love most promiscuously are the ones who've never felt it. They make some sort of feeble stew out of sympathy, compassion, contempt and general indifference, and they call it love. Once you've felt what it means to love as you and I know it—the total passion for the total height—you're incapable of anything less."

"One can't love man without hating most of the creatures who pretend to bear his name. It's one or the other. One doesn't love God and sacrilege impartially. Except when one doesn't know that sacrilege has been committed. Because one doesn't know God."

"Surely you've seen through that particular stupidity. I mean the one that claims the pig is the symbol of love for humanity—the creature that accepts anything. As a matter of fact, the person who loves everybody and feels at home everywhere is the true hater of mankind. He expects nothing of men, so no form of depravity can outrage him."

"Suffering? I'm not conscious of having shown that." "You haven't. That's what I meant. No happy person can be quite so impervious to pain."

"It's said that the worst thing one can do to a man is to kill his self-respect. But that's not true. Self-respect is something that can't be killed. The worst thing is to kill a man's pretense at it."

"Mr. Roark, we're alone here. Why don't you tell me what you think of me? In any words you wish. No one will hear us." "But I don't think of you."

"We never need to say anything to each other when we're together. This is—for the time when we won't be together. I love you, Dominique. As selfishly as the fact that I exist. As selfishly as my lungs breath air. I breathe for my own necessity, for the fuel of my body, for my survival. I've given you not my sacrifice or my pity, but my ego and my naked need. This is the only way you can wish to be loved. This is the only way I can want you to love me. If you married me now, I would become your whole existence. But I would not want you then. You would not want yourself—and so you would not love me long. To say 'I love you' one must first know how to say the 'I'. The kind of surrender I could have from you now would give me nothing but an empty hulk. If I demanded it, I'd destroy you. That's why I won't stop you. I'll let you go to your husband. I don't know how I'll live through tonight, but I will. I want you whole, as I am, as you'll remain in the battle you've chosen. A battle is never selfless. [...] You must learn not to be afraid of the world. Not to be held by it as you are now. Never to be hurt by it as you were in that courtroom. I must let you learn it. I can't help you. You must find your own way. When you have, you'll come back to me. They won't destroy me, Dominique. And they won't destroy you. You'll win, because you've chosen the hardest way of fighting for your freedom from the world. I'll wait for you. I love you. I'm saying this now for all the years we'll have to wait. I love you, Dominique."

"We must not think. We must believe. Believe, Katie, even if your mind objects. Don't think. Believe. Trust your heart, not your brain. Don't think. Feel. Believe."

"Ask anything of men. Ask them to achieve wealth, fame, love, brutality, murder, self-sacrifice. But don't ask them to achieve self-respect. They will hate your soul."

"When you see a man casting pearls without getting even a pork chop in return—it is not against the swine that you feel indignation. It is against the man who valued his pearls so little that he was willing to fling them into the muck and let them become the occasion for a whole concert of grunting, transcribed by the court stenographer."

"I don't believe it matters to me—that they're going to destroy it. Maybe it hurts so much that I don't even know I'm hurt. But I don't think so. If you want to carry it for my sake, don't carry more than I do. I'm not capable of suffering completely. I never have. It goes only down to a certain point and then it stops. As long as there is that untouched point, it's not really pain. "Where does it stop?" "Where I can think of nothing and feel nothing except that I designed that temple. I built it. Nothing else can seem very important." "You shouldn't have built it. You shouldn't have delivered it to the sort of thing they're doing." "That doesn't matter. Not even that they'll destroy it. Only that it had existed."

""Now, talk. Talk about the things you really want said. Don't tell me about your family, your childhood, your friends or your feelings. Tell me about the things you think." Mallory looked at him incredulously and whispered: "How did you know that?" Roark smiled and said nothing. "How did you know what's been killing me? Slowly, for years, driving me to hate people when I don't want to hate.... Have you felt it, too? Have you seen how your best friends love everything about you—except the things that count? And your most important is nothing to them, nothing, not even a sound they can recognize. You mean, you want to hear? You want to know what I do and why I do it, you want to know what I think? It's not boring to you? It's important?" "Go ahead," said Roark. Then he sat for hours, listening, while Mallory spoke of his work, of the thoughts behind his work, of the thoughts that shaped his life, spoke gluttonously, like a drowning man flung out to shore, getting drunk on huge, clean snatches of air."

"I want a good hotel, and I have certain standards of what is good, and they're my own, and you're the one who can give me what I want. And when I fight for you, I’m doing—on my side of it—just what you do when you design a building. Do you think integrity is the monopoly of the artist? And what, incidentally, do you think integrity is? The ability not to pick a watch out of your neighbor’s pocket? No, it's not as easy as that. If that were all, I'd say ninety-five percent of humanity were honest, upright men. Only, as you can see, they aren't. Integrity is the ability to stand by an idea. That presupposes the ability to think. Thinking is something one doesn't borrow or pawn. […] Don't worry. They're all against me. But I have one advantage: they don't know what they want. I do."

"When facing society, the man most concerned, the man who is to do the most and contribute the most, has the least to say. It's taken for granted that he has no voice and the reasons he could offer are rejected in advance as prejudiced—since no speech is ever considered, but only the speaker. It's so much easier to pass judgment on a man than on an idea. Though how in hell one passes judgment on a man without considering the content of his brain is more than I'll ever understand. However, that's how it's done."

"The causes of illusions are not pretty to discover. They’re either vicious or tragic."

"It's good to suffer. Don't complain. Bear, bow, accept—and be grateful that God has made you suffer. For this makes you better than the people who are laughing and happy. If you don't understand this, don't try to understand. Everything bad comes from the mind, because the mind asks too many questions. It is blessed to believe, not to understand. So if you didn't get passing grades, be glad of it. It means that you are better than the smart boys who think too much and too easily."

"You're much worse than a bitch. You're a saint. Which shows why saints are dangerous and undesirable."

"Every loneliness is a pinnacle."

"There's nothing as significant as a human face. Nor as eloquent. We can never really know another person, except by our first glance at him. Because, in that glance, we know everything. Even though we're not always wise enough to unravel the knowledge. Have you ever thought about the style of a soul, Kiki?" "The ... what?" "The style of the soul. Do you remember the famous philosopher who spoke of the style of a civilization? He called it 'style.' He said it was the nearest word he could find for it. He said that every civilization has its one basic principle, one single, supreme, determining conception, and every endeavor of men within that civilization is true, unconsciously and irrevocably, to that one principle.... I think, Kiki, that every human soul has a style of its own, also. Its one basic theme. You'll see it reflected in every thought, every act, every wish of that person. The one absolute, the one imperative in that living creature. Years of studying a man won't show it to you. His face will. You'd have to write volumes to describe a person. Think of his face. You need nothing else." "That sounds fantastic, Ellsworth. And unfair, if true. It would leave people naked before you." "It's worse than that. It also leaves you naked before them. You betray yourself by the manner in which you react to a certain face."