jbgotmar

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A NEW CREDO OF FREEDOM 81
honors. The next chapters describe Keating’s easy rise through a bigname
architecture fi rm, contrasting his experience to Roark’s low-paying
job with a washed-up master whose buildings he admires. Rand carefully
interwove the careers of Roark and Keating, showing that Keating
must rely on Roark to help complete his major commissions. She also
laid out the explosive sexual dynamics between Dominique and Roark.
The bulk of the novel, however, remained unwritten.
In the next twelve months Rand raced through the rest of the story.
Bobbs-Merrill gave her a year to complete the manuscript, and this time
Rand wasn’t taking any chances. She had exhausted the reputable New
York publishers and knew that if this contract fell through the book
would never be published. Adding additional pressure was the fact that
Rand still bore the primary fi nancial burden in her marriage. Like so
many men during the Depression era, Frank had been unable to fi nd
steady employment. He took the occasional odd job, at one point working
as a clerk in a cigar store, but his income was never enough to support
a household. Nor was Rand’s thousand-dollar advance enough for
her and Frank to live on, so she arranged to continue working on weekends
for Paramount. The stress was considerable. Between writing and
reading for Paramount, she was working virtually nonstop.
Rand now lived in two universes. Within The Fountainhead Roark
continued his uneven career and his refusal to compromise for clients,
while Keating’s dizzying rise was topped by his marriage to Dominique,
the daughter of his fi rm’s founder. Rand’s archvillain, Ellsworth Toohey,
the focus of the book’s second section, slowly wrapped his collectivist
tentacles around the Wynand papers. Gail Wynand himself became disillusioned
with his media empire, stole Dominique away from Peter, and
befriended Roark. Back in the real world Rand kept impossible hours
to meet her imminent deadline. The record, she told Ogden, was a mad
burst of inspiration that lasted from 4 p.m. to 1 p.m. the next day. 29 On
Sunday nights she did permit herself a rare indulgence, regularly stopping
by Isabel Paterson’s offi ce at the New York Herald Tribune to help her
proofread “Turns with a Bookworm.” Paterson too was trying to fi nish
a book, God of the Machine. She and Rand spurred each other on in a
friendly contest, each hoping to fi nish fi rst. Their jokes about competition
made light of how deeply intertwined their creative processes truly were.
Writing in tandem the two women shared ideas and inspiration freely.
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