But The Fountainhead is not fundamentally about politics. The book warns against a more subtle manifestation of collectivism, one that underlies the political danger and makes that danger possible. Although all human beings have minds, many people choose not to use theirs, looking instead to others for guidance. Many people prefer to be led in their personal lives by an authority figure—be it parents, teachers, clergymen, or others. Those who prefer to be led by authority figures are conformists, refusing the responsibility of thought and self-directed motivation, taking the path of least resistance in life. In the character of Peter Keating, a conventional architect who goes by public taste, Ayn Rand provides an incisive glimpse into the soul of such an abject follower. The picture is frightening. Keating, in many ways an average American status seeker, desires acclaim from others. In exchange for social approval, he is willing to sacrifice any and all of his personal convictions. He becomes a blind follower of the power broker, Ellsworth Toohey, and in so doing reveals the mentality of the millions of “true believers” who blindly follow a Jim Jones, a Sun Myung Moon, or an Adolf Hitler. Ayn Rand shows that conformity, a widespread phenomenon in contemporary American society, is one of the underlying causes of collectivist dictatorship.
In The Fountainhead, Rand also shows that nonconformity, often thought to be the opposite of blind obedience, is merely a variation on the same theme. In a variety of minor characters (Lois Cook, Ike the Genius, Gus Webb), all devotees of Toohey, Rand demonstrates the essence of nonconformity: an unthinking rebellion against the values and convictions of others. The nonconformist, too, places the beliefs of others first, before his own thinking; he merely reacts against them, instead of following them. It is no accident that Ayn Rand shows these rebels as followers of Toohey, because nonconformists, placing others first, always cluster into private enclaves that inevitably demand rigid obedience to their own set of rules. Nonconformists value freethinking no more than does the herd of conformists. The nonconformist characters of the novel are fictional examples of historical movements of the early twentieth century. They are predominantly writers and artists who rebel against grammar, coherent sentences, and representational art in the same way that the surrealists, expressionists, and Dadaists did in actual fact. This band of real-life rebels, not surprisingly, centered in Weimar, Germany, in the 1920s. Outwardly, some opposed Hitler. But at a deeper level, their blind rebelliousness against others and their slavish conformity to their own little subgroup fostered a herd mentality similar to that of the conformists. The nonconformists, too, were part of the culture that spawned the Nazis. This is why, in The Fountainhead, when Toohey is chided for cultivating a circle of “rabid individualists,” he merely laughs and responds: “Do you really think so?” He knows that a thinker like Roark is an individualist; posturing nonconformists like Lois Cook are mere rebels against the crowd.
The issue of conformity in the story relates to another real-life movement of the time. The Fountainhead takes place in America in the 1920s and 1930s. Roark and his mentor, Henry Cameron, are early designers of the modern style. Although the book is not historical fiction, and the lives of Cameron and Roark are not based on the lives of real-life individuals, their struggles parallel the battles waged by Louis Sullivan and Frank Lloyd Wright. In the late-nineteenth and early-twentieth centuries, the architectural style that still dominated American building was Classical. American architects largely copied Greek and Roman designs (or those of other historical periods such as the Renaissance). Louis Sullivan (1856–1924) was one of the first to build in what became known as the modern style. Generally held to be the father of modern architecture and, in particular, of the skyscraper, Sullivan waged a long battle for his ideas against conventional standards. Ayn Rand scholar David Harriman, editor of The Journals of Ayn Rand, points out that Sullivan’s life serves as a “concrete inspiration” for the character of Henry Cameron. Harriman also notes that Frank Lloyd Wright (1869–1959), the greatest of the modern designers, is famous for his “strikingly original designs.” Wright was a fiercely independent individual, who refused to collaborate on his work and who learned early in his career not to compromise. Although the events of Roark’s life are not identical to the events of Wright’s, in the broad sense Wright does serve as the model for Howard Roark. Cameron and Roark, in the novel, struggle against characters like the Dean of Stanton Institute, who believes that all the great ideas in architecture have been discovered already by the designers of the past, and that contemporary architects are simply to copy those ideas. Sullivan and Wright, in real life, battled against similar instances of conformity. Though important similarities between Rand’s fictional characters and Sullivan and Wright do exist, it is important to remember that Roark and Cameron are exemplars of innovativeness and independent thought; they are not fictionalized versions of Frank Lloyd Wright and Louis Sullivan.
