Later the Art Editor of the Banner saw the picture and barked: "What the hell's that?"
"Howard Roark," said the photographer. "Who's Howard Roark?"
"The architect."
"Who the hell wants a picture of the architect?"
"Well, I only thought ... "
"Besides, it's crazy. What's the matter with the man?" So the picture was thrown into the morgue.
The Enright House rented promptly. The tenants who moved in were people who wanted to live in sane comfort and cared about nothing else. They did not discuss the value of the building; they merely liked living there. They were the sort who lead useful, active private lives in public silence.
But others talked a great deal of the Enright House, for about three weeks. They said that it was preposterous, exhibitionist and phony. They said: "My dear, imagine inviting Mrs. Moreland if you lived in a place like that! And her home is in such good taste!" A few were beginning to appear who said: "You know, I rather like modern architecture, there are some mighty interesting things being done that way nowadays, there's quite a school of it in Germany that's rather remarkable — but this is not like it at all. This is a freak."
Ellsworth Toohey never mentioned the Enright House in his column. A reader of the Banner wrote to him: "Dear Mr. Toohey: What do you think of this place they call the Enright House? I have a friend who is an interior decorator and he talks a lot about it and he says it's lousy. Architecture and such various arts being my hobby, I don't know what to think. Will you tell us in your column?" Ellsworth Toohey answered in a private letter: "Dear friend: There are so many important buildings and great events going on in the world today that I cannot devote my column to trivialities."
But people came to Roark — the few he wanted. That winter, he had received a commission to build the Norris house, a modest country home. In May he signed another contract — for his first office building, a fifty-story skyscraper in the center of Manhattan. Anthony Cord, the owner, had come from nowhere and made a fortune in Wall Street within a few brilliant, violent years. He wanted a building of his own and he went to Roark. Roark's office had grown to four rooms. His staff loved him. They did not realize it and would have been shocked to apply such a term as love to their cold, unapproachable, inhuman boss. These were the words they used to describe Roark, these were the words they had been trained to use by all the standards and conceptions of their past; only, working with him, they knew that he was none of these things, but they could not explain, neither what he was nor what they felt for him.
He did not smile at his employees, he did not take them out for drinks, he never inquired about their families, their love lives or their church attendance. He responded only to the essence of a man: to his creative capacity. In this office one had to be competent. There were no alternatives, no mitigating considerations. But if a man worked well, he needed nothing else to win his employer's benevolence: it was granted, not as a gift, but as a debt. It was granted, not as affection, but as recognition. It bred an immense feeling of self-respect within every man in that office.
"Oh, but that's not human," said somebody when one of Roark's draftsmen tried to explain this at home, "such a cold, intellectual approach!" One boy, a younger sort of Peter Keating, tried to introduce the human in preference to the intellectual in Roark's office; he did not last two weeks. Roark made mistakes in choosing his employees occasionally, not often; those whom he kept for a month became his friends for life. They did not call themselves friends; they did not praise him to outsiders; they did not talk about him. They knew only, in a dim way, that it was not loyalty to him, but to the best within themselves.
Dominique remained in the city all summer. She remembered, with bitter pleasure, her custom to travel; it made her angry to think that she could not go, could not want to go. She enjoyed the anger; it drove her to his room. On the nights which she did not spend with him she walked through the streets of the city. She walked to the Enright House or to the Fargo Store, and stood looking at the building for a long time. She drove alone out of town — to see the Heller house, the Sanborn house, the Gowan Service Station. She never spoke to him about that.
Once, she took the Staten Island ferry at two o'clock in the morning; she rode to the island, standing alone at the rail of an empty deck. She watched the city moving away from her. In the vast emptiness of sky and ocean, the city was only a small, jagged solid. It seemed condensed, pressed tight together, not a place of streets and separate buildings, but a single sculptured form. A form of irregular steps that rose and dropped without ordered continuity, long ascensions and sudden drops, like the graph of a stubborn struggle. But it went on mounting — toward a few points, toward the triumphant masts of skyscrapers raised out of the struggle.
The boat went past the Statue of Liberty — a figure in a green light, with an arm raised like the skyscrapers behind it.
She stood at the rail, while the city diminished, and she felt the motion of growing distance as a growing tightness within her, the pull of a living cord that could not be stretched too far. She stood in quiet excitement when the boat sailed back and she saw the city growing again to meet her. She stretched her arms wide. The city expanded, to her elbows, to her wrists, beyond her fingertips. Then the skyscrapers rose over her head, and she was back.
She came ashore. She knew where she had to go, and wanted to get there fast, but felt she must get there herself, like this, on her own feet. So she walked half the length of Manhattan, through long, empty, echoing streets. It was four-thirty when she knocked at his door. He had been asleep. She shook her head. "No," she said. "Go back to sleep. I just want to be here." She did not touch him. She took off her hat and shoes, huddled into an armchair, and fell asleep, her arm hanging over the chair's side, her head on her arm. In the morning he asked no questions. They fixed breakfast together, then he hurried away to his office. Before leaving, he took her in his arms and kissed her. He walked out, and she stood for a few moments, then left. They had not exchanged twenty words.
There were week ends when they left the city together and drove in her car to some obscure point on the coast. They stretched out in the sun, on the sand of a deserted beach, they swam in the ocean. She liked to watch his body in the water. She would remain behind and stand, the waves hitting her knees, and watch him cutting a straight line through the breakers. She liked to lie with him at the edge of the water; she would lie on her stomach, a few feet away from him, facing the shore, her toes stretched to the waves; she would not touch him, but she would feel the waves coming up behind them, breaking against their bodies, and she would see the backwash running in mingled streams off her body and his.
They spent the nights at some country inn, taking a single room. They never spoke of the things left behind them in the city. But it was the unstated that gave meaning to the relaxed simplicity of these hours; their eyes laughed silently at the preposterous contract whenever they looked at each other.
She tried to demonstrate her power over him. She stayed away from his house; she waited for him to come to her. He spoiled it by coming too soon; by refusing her the satisfaction of knowing that he waited and struggled against his desire; by surrendering at once. She would say: "Kiss my hand, Roark." He would kneel and kiss her ankle. He defeated her by admitting her power; she could not have the gratification of enforcing it. He would lie at her feet, he would say: "Of course I need you. I go insane when I see you. You can do almost anything you wish with me. Is that what you want to hear? Almost, Dominique. And the things you couldn't make me do — you could put me through hell if you demanded them and I had to refuse you, as I would. Through utter hell, Dominique. Does that please you? Why do you want to know whether you own me? It's so simple. Of course you do. All of me that can be owned. You'll never demand anything else. But you want to know whether you could make me suffer. You could. What of it?" The words did not sound like surrender, because they were not torn out of him, but admitted simply and willingly. She felt no thrill of conquest; she felt herself owned more than ever, by a man who could say these things, know of them to be true, and still remain controlled and controlling — as she wanted him to remain.