After leaving college some of his protégés did quite well, others failed. Only one committed suicide. It was said that Ellsworth Toohey had exercised a beneficent influence upon them — for they never forgot him: they came to consult him on many things, years later, they wrote him, they clung to him. They were like machines without a self-starter, that had to be cranked up by an outside hand. He was never too busy to give them his full attention.
His life was crowded, public and impersonal as a city square. The friend of humanity had no single private friend. People came to him; he came close to no one. He accepted all. His affection was golden, smooth and even, like a great expanse of sand; there was no wind of discrimination to raise dunes; the sands lay still and the sun stood high.
Out of his meager income he donated money to many organizations. He was never known to have loaned a dollar to an individual. He never asked his rich friends to assist a person in need; but he obtained from them large sums and endowments for charitable institutions: for settlement houses, recreation centers, homes for fallen girls, schools for defective children. He served on the boards of all these institutions — without salary. A great many philanthropic undertakings and radical publications, run by all sorts of people, had a single connecting link among them, one common denominator: the name of Ellsworth M. Toohey on their stationery. He was a sort of one-man holding company of altruism.
Women played no part in his life. Sex had never interested him. His furtive, infrequent urges drew him to the young, slim, full-bosomed, brainless girls — the giggling little waitresses, the lisping manicurists, the less efficient stenographers, the kind who wore pink or orchid dresses and little hats on the back of their heads with gobs of blond curls in front. He was indifferent to women of intellect.
He contended that the family was a bourgeois institution; but he made no issue of it and did not crusade for free love. The subject of sex bored him. There was, he felt, too much fuss made over the damn thing; it was of no importance; there were too many weightier problems in the world.
The years passed, with each busy day of his life like a small, neat coin dropped patiently into a gigantic slot machine, without a glance at the combination of symbols, without return. Gradually, one of his many activities began to stand out among the others: he became known as an eminent critic of architecture. He wrote about buildings for three successive magazines that limped on noisily for a few years and failed, one after the other: New Voices, New Pathways, New Horizons. The fourth, New Frontiers, survived. Ellsworth Toohey was the only thing salvaged from the successive wrecks. Architectural criticism seemed to be a neglected field of endeavor; few people bothered to write about buildings, fewer to read. Toohey acquired a reputation and an unofficial monopoly. The better magazines began calling upon him whenever they needed anything connected with architecture.
In the year 1921 a small change occurred in Toohey's private life; his niece Catherine Halsey, the daughter of his sister Helen, came to live with him. His father had long since died, and Aunt Adeline had vanished into the obscure poverty of some small town; at the death of Catherine's parents there was no one else to take care of her. Toohey had not intended to keep her in his own home. But when she stepped off the train in New York, her plain little face looked beautiful for a moment, as if the future were opening before her and its glow were already upon her forehead, as if she were eager and proud and ready to meet it. It was one of those rare moments when the humblest person knows suddenly what it means to feel as the center of the universe, and is made beautiful by the knowledge, and the world — in the eyes of witnesses — looks like a better place for having such a center. Ellsworth Toohey saw this — and decided that Catherine would remain with him.
In the year 1925 came Sermons in Stone — and fame.
Ellsworth Toohey became a fashion. Intellectual hostesses fought over him. Some people disliked him and laughed at him. But there was little satisfaction in laughing at Ellsworth Toohey, because he was always first to make the most outrageous remarks about himself. Once, at a party, a smug, boorish businessman listened to Toohey's earnest social theories for a while and said complacently: "Well, I wouldn't know much about all that intellectual stuff. I play the stock market."
"I," said Toohey, "play the stock market of the spirit. And I sell short."
The most important consequence of Sermons in Stone was Toohey's contract to write a daily column for Gail Wynand's New York Banner.
The contract came as a surprise to the followers of both sides involved, and, at first, it made everybody angry. Toohey had referred to Wynand frequently and not respectfully; the Wynand papers had called Toohey every name fit to print. But the Wynand papers had no policy, save that of reflecting the greatest prejudices of the greatest number, and this made for an erratic direction, but a recognizable direction, nevertheless: toward the inconsistent, the irresponsible, the trite and the maudlin. The Wynand papers stood against Privilege and for the Common Man, but in a respectable manner that could shock nobody; they exposed monopolies, when they wished; they supported strikes, when they wished, and vice versa. They denounced Wall Street and they denounced socialism and they hollered for clean movies, all with the same gusto. They were strident and blatant — and, in essence, lifelessly mild. Ellsworth Toohey was a phenomenon much too extreme to fit behind the front page of the Banner.
But the staff of the Banner was as unfastidious as its policy. It included everybody who could please the public or any large section thereof. It was said: "Gail Wynand is not a pig. He'll eat anything." Ellsworth Toohey was a great success and the public was suddenly interested in architecture; the Banner had no authority on architecture; the Banner would get Ellsworth Toohey. It was a simple syllogism.
Thus "One Small Voice" came into existence.
The Banner explained its appearance by announcing: "On Monday the Banner will present to you a new friend — ELLSWORTH M. TOOHEY — whose scintillating book Sermons in Stone you have all read and loved. The name of Mr. Toohey stands for the great profession of architecture. He will help you to understand everything you want to know about the wonders of modern building. Watch for 'ONE SMALL VOICE' on Monday. To appear exclusively in the Banner in New York City." The rest of what Mr. Toohey stood for was ignored.
Ellsworth Toohey made no announcement or explanation to anyone. He disregarded the friends who cried that he had sold himself. He simply went to work. He devoted "One Small Voice" to architecture — once a month. The rest of the time it was the voice of Ellsworth Toohey saying what he wished said — to syndicated millions.
Toohey was the only Wynand employee who had a contract permitting him to write anything he pleased. He had insisted upon it. It was considered a great victory, by everybody except Ellsworth Toohey. He realized that it could mean one of two things: either Wynand had surrendered respectfully to the prestige of his name — or Wynand considered him too contemptible to be worth restraining.
"One Small Voice" never seemed to say anything dangerously revolutionary, and seldom anything political. It merely preached sentiments with which most people felt in agreement: unselfishness, brotherhood, equality. "I'd rather be kind than right."
"Mercy is superior to justice, the shallow-hearted to the contrary notwithstanding."
"Speaking anatomically — and perhaps otherwise — the heart is our most valuable organ. The brain is a superstition."
"In spiritual matters there is a simple, infallible test: everything that proceeds from the ego is evil; everything that proceeds from love for others is good."
"Service is the only badge of nobility. I see nothing offensive in the conception of fertilizer as the highest symbol of man's destiny: it is fertilizer that produces wheat and roses."