The Fountainhead - Revision history

GreedyCapitalist at 18:57, 13 July 2009

2009-07-13T18:57:17Z

← Older revision		Revision as of 18:57, 13 July 2009
Line 1:		Line 1:
	~~elrolc~~
	'''''The Fountainhead''''' is a [[1943 in literature\|1943]] [[novel]] by [[Ayn Rand]] (ISBN 0452283760). The book was Rand's first major success and its [[royalties]] and [[film\|movie]] rights made Rand famous and financially secure. The book was rejected by 12 [[publisher]]s before a young editor at the [[Bobbs-Merrill Company]] publishing house wired to the head office, "If this is not the book for you, then I am not the editor for you". ''The Fountainhead'' was made into a [[Hollywood]] film in [[1949 in film\|1949]], with [[screenplay]] by Rand herself.		'''''The Fountainhead''''' is a [[1943 in literature\|1943]] [[novel]] by [[Ayn Rand]] (ISBN 0452283760). The book was Rand's first major success and its [[royalties]] and [[film\|movie]] rights made Rand famous and financially secure. The book was rejected by 12 [[publisher]]s before a young editor at the [[Bobbs-Merrill Company]] publishing house wired to the head office, "If this is not the book for you, then I am not the editor for you". ''The Fountainhead'' was made into a [[Hollywood]] film in [[1949 in film\|1949]], with [[screenplay]] by Rand herself.

Line 11:		Line 10:
	The hero is Howard Roark, a hard working, aspiring architect whose plans and goals are waylaid at every end by "the hostility of second-hand souls". His pleasure is in the act of creation, and his calm, reserve, and selfishness are woven together into a person Rand means for us to admire and emulate.		The hero is Howard Roark, a hard working, aspiring architect whose plans and goals are waylaid at every end by "the hostility of second-hand souls". His pleasure is in the act of creation, and his calm, reserve, and selfishness are woven together into a person Rand means for us to admire and emulate.

	The story is also about Dominique Francon, a woman torn between two loves ~~Ã¢â¬"~~ not of men but of power, pleasure, and a self-dominance she grows to understand through her relationship with Roark. Roark and Dominique first see each other while the former is working in a quarry owned by the latter's father. He later comes to her home and rapes her, an event that leaves Dominique filled with a possessiveness for Roark that drives her into the arms of another man.		The story is also about Dominique Francon, a woman torn between two loves -- not of men but of power, pleasure, and a self-dominance she grows to understand through her relationship with Roark. Roark and Dominique first see each other while the former is working in a quarry owned by the latter's father. He later comes to her home and rapes her, an event that leaves Dominique filled with a possessiveness for Roark that drives her into the arms of another man.

	Gail Wynand, a newspaper mogul who raised himself by the bootstraps from the ghettoes of New York City, believes himself to be the highest of men. He has the power to do anything, command anything. Until, that is, he meets Roark, a man whom he helps to destroy. Wynand, after seeing a naked statue of Dominique sculpted by Steven Mallory, a friend of Roark's for one of his buildings, the Stoddard Temple, falls in love as much with the woman as the artistry of the statue. Dominique and Gail are married.		Gail Wynand, a newspaper mogul who raised himself by the bootstraps from the ghettoes of New York City, believes himself to be the highest of men. He has the power to do anything, command anything. Until, that is, he meets Roark, a man whom he helps to destroy. Wynand, after seeing a naked statue of Dominique sculpted by Steven Mallory, a friend of Roark's for one of his buildings, the Stoddard Temple, falls in love as much with the woman as the artistry of the statue. Dominique and Gail are married.
Line 39:		Line 38:
	====Ellsworth Toohey====		====Ellsworth Toohey====

	Rand describes Toohey as "a man who never could be, and knows it." Toohey is an architectural critic for Wynand's paper who uses his influence over the masses to hinder Howard Roark. Toohey is an unabashed collectivist, who styles himself as representative of the will of the masses. Having no true genius that such innovators as Roark possess, he makes himself excellent by manipulating the masses to believe that mediocrity is excellent. Toohey serves as the primary villain in the novel, and the gravest enemy of Objectivist ideals. Toohey is also the only character in the novel to have political goals. He is attempting to establish a Communist dictatorship in America by altering ~~peopleÃ¢â¬â¢s~~ view of excellence; to destroy that which is great and spread the word that altruism is the ultimate ideal. This is put forward in one of his most memorable quotes: ~~Ã¢â¬ÅDonÃ¢â¬â¢t~~ set out to raze all shrines ~~Ã¢â¬" youÃ¢â¬â¢ll~~ frighten man. Enshrine mediocrity, and your shrines are razed.~~Ã¢â¬Â~~ It is in this that makes Ellsworth Toohey Ayn ~~RandÃ¢â¬â¢s~~ most evil villain; unlike the characters in ''Atlas Shrugged'', who are really just blindly following ~~TooheyÃ¢â¬â¢s~~ religion, Toohey knows exactly what he is doing ~~Ã¢â¬"~~ and why.		Rand describes Toohey as "a man who never could be, and knows it." Toohey is an architectural critic for Wynand's paper who uses his influence over the masses to hinder Howard Roark. Toohey is an unabashed collectivist, who styles himself as representative of the will of the masses. Having no true genius that such innovators as Roark possess, he makes himself excellent by manipulating the masses to believe that mediocrity is excellent. Toohey serves as the primary villain in the novel, and the gravest enemy of Objectivist ideals. Toohey is also the only character in the novel to have political goals. He is attempting to establish a Communist dictatorship in America by altering people's view of excellence; to destroy that which is great and spread the word that altruism is the ultimate ideal. This is put forward in one of his most memorable quotes: "Don't set out to raze all shrines -- you'll frighten man. Enshrine mediocrity, and your shrines are razed." It is in this that makes Ellsworth Toohey Ayn Rand's most evil villain; unlike the characters in ''Atlas Shrugged'', who are really just blindly following Toohey's religion, Toohey knows exactly what he is doing -- and why.

	===Plot synopsis===		===Plot synopsis===

Myself: /* {{Spoiler}} */

2009-06-18T16:55:26Z

← Older revision		Revision as of 16:55, 18 June 2009
Line 15:		Line 15:
	Gail Wynand, a newspaper mogul who raised himself by the bootstraps from the ghettoes of New York City, believes himself to be the highest of men. He has the power to do anything, command anything. Until, that is, he meets Roark, a man whom he helps to destroy. Wynand, after seeing a naked statue of Dominique sculpted by Steven Mallory, a friend of Roark's for one of his buildings, the Stoddard Temple, falls in love as much with the woman as the artistry of the statue. Dominique and Gail are married.		Gail Wynand, a newspaper mogul who raised himself by the bootstraps from the ghettoes of New York City, believes himself to be the highest of men. He has the power to do anything, command anything. Until, that is, he meets Roark, a man whom he helps to destroy. Wynand, after seeing a naked statue of Dominique sculpted by Steven Mallory, a friend of Roark's for one of his buildings, the Stoddard Temple, falls in love as much with the woman as the artistry of the statue. Dominique and Gail are married.

	There are many other characters ~~Ã¢â¬"~~ Henry Cameron, Roark's mentor who was destroyed by "the system"; Peter Keating, a colleague and friend of Roark whose only individuality is a direct reflection of others; Ellsworth Toohey, the man whose power is directly proportionate to the number of times he says he is unimportant.		There are many other characters like Henry Cameron, Roark's mentor who was destroyed by "the system"; Peter Keating, a colleague and friend of Roark whose only individuality is a direct reflection of others; Ellsworth Toohey, the man whose power is directly proportionate to the number of times he says he is unimportant.

	Cameron is a former architect who, at one time, enjoyed a period of prosperity. However, when his practice of originality becomes rejected in favor of reproducing classic architecture, his firm slowly dies and eventually becomes nonexistent; Cameron and Roark being its last employees. His philosophy in architecture is something that Roark has based his own philosophy on, to an extent, which is why, at the outset of the novel, Roark is so determined to work for him.		Cameron is a former architect who, at one time, enjoyed a period of prosperity. However, when his practice of originality becomes rejected in favor of reproducing classic architecture, his firm slowly dies and eventually becomes nonexistent; Cameron and Roark being its last employees. His philosophy in architecture is something that Roark has based his own philosophy on, to an extent, which is why, at the outset of the novel, Roark is so determined to work for him.


	===Major characters===		===Major characters===

Myself: /* Architectural theme */

2009-06-18T16:53:17Z

Architectural theme

← Older revision		Revision as of 16:53, 18 June 2009
Line 64:		Line 64:
	Ayn Rand dedicated this book to "the noble profession of architecture".		Ayn Rand dedicated this book to "the noble profession of architecture".

	~~The~~ characters of Peter Keating and Howard Roark ~~are~~ fictional analogues to the real fight for modern architecture in the early 20th century.		Rand wrote the characters of Peter Keating and Howard Roark to be fictional analogues to figures in the real fight for modern architecture in the early 20th century.

	Keating builds in an eclectic/neo-classical/historical style and accommodates to changes suggested by others. Roark, however, searches for truth and honesty and tries to express these in his works. He takes an uncompromising stand when changes are suggested in his buildings. This mirrors the trajectory of Modern architecture, with its origins from dissatisfaction with earlier trends, and its emphasis on individual creativity.		Keating builds in an eclectic/neo-classical/historical style and accommodates to changes suggested by others. Roark, however, searches for truth and honesty and tries to express these in his works. He takes an uncompromising stand when changes are suggested in his buildings. This mirrors the trajectory of Modern architecture, with its origins from dissatisfaction with earlier trends, and its emphasis on individual creativity.

Myself: /* Architectural theme */

2009-06-18T16:50:40Z

Architectural theme

← Older revision		Revision as of 16:50, 18 June 2009
Line 62:		Line 62:
	==Architectural theme==		==Architectural theme==

	Ayn Rand ~~dedicates~~ this book to "the noble profession of architecture". She chose the architectural profession for the analogy it offered to her ideas, especially in the context of the rise of the Modern Movement in architecture. In her hands, this profession becomes a convenient vehicle for propagating her views â that the ego is supreme, and individualism and selfishness are virtues to be treasured.		Ayn Rand dedicated this book to "the noble profession of architecture".

	The characters of Peter Keating and Howard Roark are ~~placed~~ in ~~antithesis to each other~~. Keating ~~still practices~~ in an eclectic/neo-classical/historical ~~mould even when the building typology is modern like a skyscraper~~ and ~~is therefore dishonest and imitative. He is also accommodating of~~ changes suggested by others~~. This mirrors the various eclectic directions and the general willingness to adapt at the turn of the twentieth century~~. Roark, however~~, rejects history~~, searches for truth and honesty and tries to express these in his works. He takes an uncompromising stand when changes are suggested in his buildings. This mirrors the trajectory of Modern architecture with its origins from dissatisfaction with earlier trends and its emphasis on individual creativity. The celebration of Roark's individuality can be seen in parallel with the eulogizing of modern architects as uncompromising and heroic "masters". It is likely that the character of Roark is based on the famous American architect Frank Lloyd Wright - though Rand herself denied this.		The characters of Peter Keating and Howard Roark are fictional analogues to the real fight for modern architecture in the early 20th century.

			Keating builds in an eclectic/neo-classical/historical style and accommodates to changes suggested by others. Roark, however, searches for truth and honesty and tries to express these in his works. He takes an uncompromising stand when changes are suggested in his buildings. This mirrors the trajectory of Modern architecture, with its origins from dissatisfaction with earlier trends, and its emphasis on individual creativity.

			The celebration of Roark's individuality can be seen in parallel with the eulogizing of modern architects as uncompromising and heroic "masters." It is likely that the character of Roark is based on the famous American architect Frank Lloyd Wright - though Rand herself denied this.

	If Roark is Wright, then it is reasonable to propose that his nemesis Ellsworth Toohey is a composite of Henry-Russell Hitchcock and Philip Johnson, although the image of Toohey is a lot more blatantly negative, and it is shown that he is aware of this in a conversation he has with Peter Keating. In an exhibit at the Museum of Modern Art in 1932, Hitchcock and Johnson first lauded Wright as a precursor to what they dubbed the International Style, of the generally politically left-leaning Bauhaus architects. A few years later, they revised their view of Wright, seeing him as a "Romantic individualist".		If Roark is Wright, then it is reasonable to propose that his nemesis Ellsworth Toohey is a composite of Henry-Russell Hitchcock and Philip Johnson, although the image of Toohey is a lot more blatantly negative, and it is shown that he is aware of this in a conversation he has with Peter Keating. In an exhibit at the Museum of Modern Art in 1932, Hitchcock and Johnson first lauded Wright as a precursor to what they dubbed the International Style, of the generally politically left-leaning Bauhaus architects. A few years later, they revised their view of Wright, seeing him as a "Romantic individualist".

85.114.241.23 at 12:42, 10 October 2007

2007-10-10T12:42:16Z

← Older revision		Revision as of 12:42, 10 October 2007
Line 1:		Line 1:
			elrolc
	'''''The Fountainhead''''' is a [[1943 in literature\|1943]] [[novel]] by [[Ayn Rand]] (ISBN 0452283760). The book was Rand's first major success and its [[royalties]] and [[film\|movie]] rights made Rand famous and financially secure. The book was rejected by 12 [[publisher]]s before a young editor at the [[Bobbs-Merrill Company]] publishing house wired to the head office, "If this is not the book for you, then I am not the editor for you". ''The Fountainhead'' was made into a [[Hollywood]] film in [[1949 in film\|1949]], with [[screenplay]] by Rand herself.		'''''The Fountainhead''''' is a [[1943 in literature\|1943]] [[novel]] by [[Ayn Rand]] (ISBN 0452283760). The book was Rand's first major success and its [[royalties]] and [[film\|movie]] rights made Rand famous and financially secure. The book was rejected by 12 [[publisher]]s before a young editor at the [[Bobbs-Merrill Company]] publishing house wired to the head office, "If this is not the book for you, then I am not the editor for you". ''The Fountainhead'' was made into a [[Hollywood]] film in [[1949 in film\|1949]], with [[screenplay]] by Rand herself.

Line 10:		Line 11:
	The hero is Howard Roark, a hard working, aspiring architect whose plans and goals are waylaid at every end by "the hostility of second-hand souls". His pleasure is in the act of creation, and his calm, reserve, and selfishness are woven together into a person Rand means for us to admire and emulate.		The hero is Howard Roark, a hard working, aspiring architect whose plans and goals are waylaid at every end by "the hostility of second-hand souls". His pleasure is in the act of creation, and his calm, reserve, and selfishness are woven together into a person Rand means for us to admire and emulate.

	The story is also about Dominique Francon, a woman torn between two loves â€" not of men but of power, pleasure, and a self-dominance she grows to understand through her relationship with Roark. Roark and Dominique first see each other while the former is working in a quarry owned by the latter's father. He later comes to her home and rapes her, an event that leaves Dominique filled with a possessiveness for Roark that drives her into the arms of another man.		The story is also about Dominique Francon, a woman torn between two loves Ã¢â¬" not of men but of power, pleasure, and a self-dominance she grows to understand through her relationship with Roark. Roark and Dominique first see each other while the former is working in a quarry owned by the latter's father. He later comes to her home and rapes her, an event that leaves Dominique filled with a possessiveness for Roark that drives her into the arms of another man.

	Gail Wynand, a newspaper mogul who raised himself by the bootstraps from the ghettoes of New York City, believes himself to be the highest of men. He has the power to do anything, command anything. Until, that is, he meets Roark, a man whom he helps to destroy. Wynand, after seeing a naked statue of Dominique sculpted by Steven Mallory, a friend of Roark's for one of his buildings, the Stoddard Temple, falls in love as much with the woman as the artistry of the statue. Dominique and Gail are married.		Gail Wynand, a newspaper mogul who raised himself by the bootstraps from the ghettoes of New York City, believes himself to be the highest of men. He has the power to do anything, command anything. Until, that is, he meets Roark, a man whom he helps to destroy. Wynand, after seeing a naked statue of Dominique sculpted by Steven Mallory, a friend of Roark's for one of his buildings, the Stoddard Temple, falls in love as much with the woman as the artistry of the statue. Dominique and Gail are married.

	There are many other characters â€" Henry Cameron, Roark's mentor who was destroyed by "the system"; Peter Keating, a colleague and friend of Roark whose only individuality is a direct reflection of others; Ellsworth Toohey, the man whose power is directly proportionate to the number of times he says he is unimportant.		There are many other characters Ã¢â¬" Henry Cameron, Roark's mentor who was destroyed by "the system"; Peter Keating, a colleague and friend of Roark whose only individuality is a direct reflection of others; Ellsworth Toohey, the man whose power is directly proportionate to the number of times he says he is unimportant.

	Cameron is a former architect who, at one time, enjoyed a period of prosperity. However, when his practice of originality becomes rejected in favor of reproducing classic architecture, his firm slowly dies and eventually becomes nonexistent; Cameron and Roark being its last employees. His philosophy in architecture is something that Roark has based his own philosophy on, to an extent, which is why, at the outset of the novel, Roark is so determined to work for him.		Cameron is a former architect who, at one time, enjoyed a period of prosperity. However, when his practice of originality becomes rejected in favor of reproducing classic architecture, his firm slowly dies and eventually becomes nonexistent; Cameron and Roark being its last employees. His philosophy in architecture is something that Roark has based his own philosophy on, to an extent, which is why, at the outset of the novel, Roark is so determined to work for him.
Line 39:		Line 40:
	====Ellsworth Toohey====		====Ellsworth Toohey====

	Rand describes Toohey as "a man who never could be, and knows it." Toohey is an architectural critic for Wynand's paper who uses his influence over the masses to hinder Howard Roark. Toohey is an unabashed collectivist, who styles himself as representative of the will of the masses. Having no true genius that such innovators as Roark possess, he makes himself excellent by manipulating the masses to believe that mediocrity is excellent. Toohey serves as the primary villain in the novel, and the gravest enemy of Objectivist ideals. Toohey is also the only character in the novel to have political goals. He is attempting to establish a Communist dictatorship in America by altering ~~peopleâ€™s~~ view of excellence; to destroy that which is great and spread the word that altruism is the ultimate ideal. This is put forward in one of his most memorable quotes: ~~â€œDonâ€™t~~ set out to raze all shrines â€" ~~youâ€™ll~~ frighten man. Enshrine mediocrity, and your shrines are razed.~~â€~~ It is in this that makes Ellsworth Toohey Ayn ~~Randâ€™s~~ most evil villain; unlike the characters in ''Atlas Shrugged'', who are really just blindly following ~~Tooheyâ€™s~~ religion, Toohey knows exactly what he is doing â€" and why.		Rand describes Toohey as "a man who never could be, and knows it." Toohey is an architectural critic for Wynand's paper who uses his influence over the masses to hinder Howard Roark. Toohey is an unabashed collectivist, who styles himself as representative of the will of the masses. Having no true genius that such innovators as Roark possess, he makes himself excellent by manipulating the masses to believe that mediocrity is excellent. Toohey serves as the primary villain in the novel, and the gravest enemy of Objectivist ideals. Toohey is also the only character in the novel to have political goals. He is attempting to establish a Communist dictatorship in America by altering peopleÃ¢â¬â¢s view of excellence; to destroy that which is great and spread the word that altruism is the ultimate ideal. This is put forward in one of his most memorable quotes: Ã¢â¬ÅDonÃ¢â¬â¢t set out to raze all shrines Ã¢â¬" youÃ¢â¬â¢ll frighten man. Enshrine mediocrity, and your shrines are razed.Ã¢â¬Â It is in this that makes Ellsworth Toohey Ayn RandÃ¢â¬â¢s most evil villain; unlike the characters in ''Atlas Shrugged'', who are really just blindly following TooheyÃ¢â¬â¢s religion, Toohey knows exactly what he is doing Ã¢â¬" and why.

	===Plot synopsis===		===Plot synopsis===
Line 61:		Line 62:
	==Architectural theme==		==Architectural theme==

	Ayn Rand dedicates this book to "the noble profession of architecture". She chose the architectural profession for the analogy it offered to her ideas, especially in the context of the rise of the Modern Movement in architecture. In her hands, this profession becomes a convenient vehicle for propagating her views — that the ego is supreme, and individualism and selfishness are virtues to be treasured.		Ayn Rand dedicates this book to "the noble profession of architecture". She chose the architectural profession for the analogy it offered to her ideas, especially in the context of the rise of the Modern Movement in architecture. In her hands, this profession becomes a convenient vehicle for propagating her views â that the ego is supreme, and individualism and selfishness are virtues to be treasured.

	The characters of Peter Keating and Howard Roark are placed in antithesis to each other. Keating still practices in an eclectic/neo-classical/historical mould even when the building typology is modern like a skyscraper and is therefore dishonest and imitative. He is also accommodating of changes suggested by others. This mirrors the various eclectic directions and the general willingness to adapt at the turn of the twentieth century. Roark, however, rejects history, searches for truth and honesty and tries to express these in his works. He takes an uncompromising stand when changes are suggested in his buildings. This mirrors the trajectory of Modern architecture with its origins from dissatisfaction with earlier trends and its emphasis on individual creativity. The celebration of Roark's individuality can be seen in parallel with the eulogizing of modern architects as uncompromising and heroic "masters". It is likely that the character of Roark is based on the famous American architect Frank Lloyd Wright - though Rand herself denied this.		The characters of Peter Keating and Howard Roark are placed in antithesis to each other. Keating still practices in an eclectic/neo-classical/historical mould even when the building typology is modern like a skyscraper and is therefore dishonest and imitative. He is also accommodating of changes suggested by others. This mirrors the various eclectic directions and the general willingness to adapt at the turn of the twentieth century. Roark, however, rejects history, searches for truth and honesty and tries to express these in his works. He takes an uncompromising stand when changes are suggested in his buildings. This mirrors the trajectory of Modern architecture with its origins from dissatisfaction with earlier trends and its emphasis on individual creativity. The celebration of Roark's individuality can be seen in parallel with the eulogizing of modern architects as uncompromising and heroic "masters". It is likely that the character of Roark is based on the famous American architect Frank Lloyd Wright - though Rand herself denied this.

GreedyCapitalist: Reverted edits by 137.226.13.2 (Talk); changed back to last version by GreedyCapitalist

2007-01-15T08:41:41Z

Reverted edits by 137.226.13.2 (Talk); changed back to last version by GreedyCapitalist

← Older revision		Revision as of 08:41, 15 January 2007
Line 1:		Line 1:
	'''''The Fountainhead''''' is a [[1943 in literature\|1943]] [[novel]] by [[Ayn Rand]] (ISBN 0452283760). The book was Rand's first major success and its [[royalties]] and [[film\|movie]] rights made Rand famous and financially secure~~, thus allowing her fervent support against the poor, and the rights thereof~~. The book was rejected by 12 [[publisher]]s before a young editor at the [[Bobbs-Merrill Company]] publishing house wired to the head office, "If this is not the book for you, then I am not the editor for you". ''The Fountainhead'' was made into a [[Hollywood]] film in [[1949 in film\|1949]], with [[screenplay]] by Rand herself.		'''''The Fountainhead''''' is a [[1943 in literature\|1943]] [[novel]] by [[Ayn Rand]] (ISBN 0452283760). The book was Rand's first major success and its [[royalties]] and [[film\|movie]] rights made Rand famous and financially secure. The book was rejected by 12 [[publisher]]s before a young editor at the [[Bobbs-Merrill Company]] publishing house wired to the head office, "If this is not the book for you, then I am not the editor for you". ''The Fountainhead'' was made into a [[Hollywood]] film in [[1949 in film\|1949]], with [[screenplay]] by Rand herself.

	The book's title is a reference to a quote of Rand's: "Man's [[ego]] is the fountainhead of human progress."		The book's title is a reference to a quote of Rand's: "Man's [[ego]] is the fountainhead of human progress."

137.226.13.2: reverted commie vandalism

2007-01-15T08:16:46Z

reverted commie vandalism

← Older revision		Revision as of 08:16, 15 January 2007
Line 1:		Line 1:
	'''''The Fountainhead''''' is a [[1943 in literature\|1943]] [[novel]] by [[Ayn Rand]] (ISBN 0452283760). The book was Rand's first major success and its [[royalties]] and [[film\|movie]] rights made Rand famous and financially secure. The book was rejected by 12 [[publisher]]s before a young editor at the [[Bobbs-Merrill Company]] publishing house wired to the head office, "If this is not the book for you, then I am not the editor for you". ''The Fountainhead'' was made into a [[Hollywood]] film in [[1949 in film\|1949]], with [[screenplay]] by Rand herself.		'''''The Fountainhead''''' is a [[1943 in literature\|1943]] [[novel]] by [[Ayn Rand]] (ISBN 0452283760). The book was Rand's first major success and its [[royalties]] and [[film\|movie]] rights made Rand famous and financially secure, thus allowing her fervent support against the poor, and the rights thereof. The book was rejected by 12 [[publisher]]s before a young editor at the [[Bobbs-Merrill Company]] publishing house wired to the head office, "If this is not the book for you, then I am not the editor for you". ''The Fountainhead'' was made into a [[Hollywood]] film in [[1949 in film\|1949]], with [[screenplay]] by Rand herself.

	The book's title is a reference to a quote of Rand's: "Man's [[ego]] is the fountainhead of human progress."		The book's title is a reference to a quote of Rand's: "Man's [[ego]] is the fountainhead of human progress."

GreedyCapitalist: Reverted edits by 149.9.0.59 (Talk); changed back to last version by 68.219.171.40

2007-01-15T05:49:38Z

Reverted edits by 149.9.0.59 (Talk); changed back to last version by 68.219.171.40

← Older revision		Revision as of 05:49, 15 January 2007
Line 1:		Line 1:
	'''''The Fountainhead''''' is a [[1943 in literature\|1943]] [[novel]] by [[Ayn Rand]] (ISBN 0452283760). The book was Rand's first major success and its [[royalties]] and [[film\|movie]] rights made Rand famous and financially secure~~, thus allowing her fervent support against the poor, and the rights thereof~~. The book was rejected by 12 [[publisher]]s before a young editor at the [[Bobbs-Merrill Company]] publishing house wired to the head office, "If this is not the book for you, then I am not the editor for you". ''The Fountainhead'' was made into a [[Hollywood]] film in [[1949 in film\|1949]], with [[screenplay]] by Rand herself.		'''''The Fountainhead''''' is a [[1943 in literature\|1943]] [[novel]] by [[Ayn Rand]] (ISBN 0452283760). The book was Rand's first major success and its [[royalties]] and [[film\|movie]] rights made Rand famous and financially secure. The book was rejected by 12 [[publisher]]s before a young editor at the [[Bobbs-Merrill Company]] publishing house wired to the head office, "If this is not the book for you, then I am not the editor for you". ''The Fountainhead'' was made into a [[Hollywood]] film in [[1949 in film\|1949]], with [[screenplay]] by Rand herself.

	The book's title is a reference to a quote of Rand's: "Man's [[ego]] is the fountainhead of human progress."		The book's title is a reference to a quote of Rand's: "Man's [[ego]] is the fountainhead of human progress."

149.9.0.59 at 03:29, 15 January 2007

2007-01-15T03:29:04Z

← Older revision		Revision as of 03:29, 15 January 2007
Line 1:		Line 1:
	'''''The Fountainhead''''' is a [[1943 in literature\|1943]] [[novel]] by [[Ayn Rand]] (ISBN 0452283760). The book was Rand's first major success and its [[royalties]] and [[film\|movie]] rights made Rand famous and financially secure. The book was rejected by 12 [[publisher]]s before a young editor at the [[Bobbs-Merrill Company]] publishing house wired to the head office, "If this is not the book for you, then I am not the editor for you". ''The Fountainhead'' was made into a [[Hollywood]] film in [[1949 in film\|1949]], with [[screenplay]] by Rand herself.		'''''The Fountainhead''''' is a [[1943 in literature\|1943]] [[novel]] by [[Ayn Rand]] (ISBN 0452283760). The book was Rand's first major success and its [[royalties]] and [[film\|movie]] rights made Rand famous and financially secure, thus allowing her fervent support against the poor, and the rights thereof. The book was rejected by 12 [[publisher]]s before a young editor at the [[Bobbs-Merrill Company]] publishing house wired to the head office, "If this is not the book for you, then I am not the editor for you". ''The Fountainhead'' was made into a [[Hollywood]] film in [[1949 in film\|1949]], with [[screenplay]] by Rand herself.

	The book's title is a reference to a quote of Rand's: "Man's [[ego]] is the fountainhead of human progress."		The book's title is a reference to a quote of Rand's: "Man's [[ego]] is the fountainhead of human progress."

68.219.171.40: /* Library of Congress dispute */

2006-12-31T05:37:17Z

Library of Congress dispute

← Older revision		Revision as of 05:37, 31 December 2006
Line 77:		Line 77:
	After consulting with his lawyer, Peikoff determined that there was not much he could do about his situation. While perhaps he had a right to keep the papers and even though they were legally his (his argument is that he had never donated them to the library, so they had never been property of the U. S. Government), and even though he might win a lawsuit against the government, the process would be long and expensive. So he signed a capitulation agreement, but supplied the condition that the Library of Congress must come and retrieve the pages themselves. This retrieval was videotaped by a friend.		After consulting with his lawyer, Peikoff determined that there was not much he could do about his situation. While perhaps he had a right to keep the papers and even though they were legally his (his argument is that he had never donated them to the library, so they had never been property of the U. S. Government), and even though he might win a lawsuit against the government, the process would be long and expensive. So he signed a capitulation agreement, but supplied the condition that the Library of Congress must come and retrieve the pages themselves. This retrieval was videotaped by a friend.

	~~Peikoff's personal narrative of the story and video of the manuscript pages' retrieval can be found on his website, Peikoff.com.~~ Peikoff's personal narrative of the story and video of the manuscript pages' retrieval can be found on his website, [http://www.peikoff.com Peikoff.com].		Peikoff's personal narrative of the story and video of the manuscript pages' retrieval can be found on his website, [http://www.peikoff.com Peikoff.com].

	==Film version==		==Film version==