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More oxford books @ www.OxfordeBook.comFore more urdu books visit www.4Urdu.comA NEW CREDO OF FREEDOM 91Roark that wins him his first major client, Austen Heller. While Helleris looking at a watercolor drawing of his proposed house, which hasdrawn on Roark’s ideas but blended them with those of other architects,Roark suddenly intervenes, destroying the watercolor by demonstratinghow he had originally designed the house.Roark turned. He was at the other side of the table. He seized the sketch,his hand flashed forward and a pencil ripped across the drawing, slashingraw black lines over the untouchable watercolor. The lines blasted offthe Ionic columns, the pediment, the entrance, the spire, the blinds, thebricks; they flung up two wings of stone; they rent the windows wide;they splintered the balcony and hurled a terrace over the sea. It was beingdone before the others had grasped the moment when it began. . . . Roarkthrew his head up once, for a flash of a second, to look at Heller across thetable. It was all the introduction needed; it was like a handshake. (126)On the spot, Heller offers Roark his first major commission. Rand’stense, dramatic description brings the moment alive in all its emotionalsignificance. As even the snooty Times Literary Supplement admitted,“She contrives from somewhere a surprising amount of readability.” 43With several plays, movie scenarios, and a novel behind her, Rand haddeveloped a fast-paced, sweeping style that easily sustained her readers’interest.Yet for many readers The Fountainhead was far more than a story. Thebook inspired a range of passionate reactions, as can be seen in the largevolume of fan mail Rand began to receive. 44 In breathless, urgent letters,readers recounted the impact the book had on their lives. For many TheFountainhead had the power of revelation. As one reader told Rand afterfinishing the book, echoing DeWitt Emery’s sentiments, “It is like beingawake for the first time.” This metaphor of awakening was among themost common devices readers used to describe the impact of Rand’swriting. Adolescents responded with particular fervor to her insistencethat dreams, aspirations, and the voice of self be heeded, whatever theconsequences. An eighteen-year-old aspiring writer clung to the bookas to a lifeline: “But now, when I reach the point—and I reach it oftenthese days—where the pain can go down no further; I read part, anypart, of The Fountainhead.” Rand had anticipated responses like these,and indeed hoped to stir her reader’s deepest feelings. Writing to Emery