There are four major ways to develop a character in literature. The first is by revealing something that we didn’t know about the character, but that is not something new in the character’s nature. An example of this occurs in To Kill a Mockingbird when we learn that Atticus can shoot a rifle. This revelation is surprising to his children and us because Atticus is portrayed as a non-physical man, but it does not represent change on Atticus’ part.
The second, third, and fourth ways involve a change in the character. The second takes place when a character transforms at the level of fundamentals. An example of this would be Huckleberry Finn confronting his racism when he apologizes to Jim. The third way is more superficial: It involves a character gaining insight but not changing personality in any profound way. Joseph Knecht in The Glass Bead Game might serve as an illustration. He learns more about the relationship of intellectualism and life, but his personality does not change.
The fourth way steers a middle course between the second and third. Here the character gains insight and has experiences of an unexpected nature and thus changes in important, though not fundamental ways. This developmental path is ideal for authors who want to play out the logical conclusion of a character’s initial premises and to show how, in the case of good premises, a person with such premises can and should achieve his mature form. An example of this would be Howard Roark in Ayn Rand’s novel, The Fountainhead.I. Innocent at 22
While it would be easy for admirers of Rand to idealize the Roark who appears at the beginning of the novel and to agree with the character Steven Mallory that Roark does not change, that would be to miss a major point of the story, which is that the seed is not enough, and the fruit must grow and ripen to realize itself.
Mallory is, of course, correct in saying that Roark’s sense of life and cognitive style do not change in any fundamental way, but at a somewhat less profound level Roark changes quite a bit. Untheoretical and naïve at the outset, he becomes philosophical and wise by the story’s conclusion. Detached and aloof to begin with, he finds a connection to others even to the point of heartbreak.
Rand’s portrait of Roark is stylized and slanted to project his independence. Rand never shows Roark reading a book or attending a play or even listening to music, although a real Roark would surely do these things sometimes. Roark is shown against of backdrop of nature and man’s interface with nature, architecture. But beyond the stylization, Roark is supposed to be an extreme example of a certain type. Rand crafted him with the purpose of setting up a controlled experiment to answer the question, How would a man who was independent to the bottom of his soul evolve as a person, especially in the modern American environment?
To facilitate this experiment Rand has Roark grow up along a developmentally delayed trajectory: He does not come to terms with friendship, frustration, love, pity, and tragedy until he is an adult. Although this path is not entirely credible in real-world terms, it does allow us to see how the independent man consciously (although not always self-consciously) engages features of life as an adult that most of us deal with almost completely implicitly as children. Roark starts out as a pinnacle of unselfconscious purity. Rand shows us what such a man must go through to realize his full, self-aware potential.
The Roark of the first portion of the novel is unfinished, untheoretical, nonself-aware and socially passive. To be sure, his virtues are considerable: He is certain about what he wants to do with his life and how he is going to set about doing it. As he says to Henry Cameron, he wants to be an architect because he does not believe in God. But beyond this, his motivation, as he tells Cameron, is primal—love of the earth—not philosophical in the usual sense.Gary Cooper as Howard Roark
Using one of her favorite characterization gambits, Rand gives Roark the defects of his virtues. Here I do not mean “moral defects,” but “deficiencies.” Observe Roark’s thought processes early in the story. When the dean fires Roark from architectural school, he tells Roark that Roark would be more persuasive if he cared what the dean thought. This is a revelation to Roark. Somehow he had gotten to the age of 22 without noticing that he did not care what others thought. Presumably, this is because Roark had simply gone about his business without deliberately not caring what others thought—he was not rebellious, defiant or willfully non-conformist. He just does what he does with an almost Zen attitude, but what he does is still shockingly nonself-aware on his part.
This film redeems the concept of honor for me. It redeems it for me because there is no pomp in Locke’s honor. He is just a rational man taking responsibility for his deeds. He’s basically an Objectivist with some emotional baggage. He speaks in terms of solving problems.
Roark knows there is some important difference between the dean and himself. He tags it “the principle behind the dean” and thinks of regarding a central impulse, like a theme in a building, rather than in philosophical or psychological terms. But he forgets the issue, which is the most crucial of his life, concerning both his self-realization and his place in society, when he sees the setting sun’s rays on a stringcourse of limestone!
Typical of Roark early on. He is so marvelously first-handed that he has trouble attending to aspects of social life that he needs to, aspects like why he receives the reaction he does and why people build incompetent buildings, and what it is that is the motor of his own life. The principle behind the dean would have been something most intelligent people would have figured out in an hour if they thought about it. And they would have thought about it as teenagers (although not as systematically as Roark eventually does). It takes Roark another 16 years to get around to the matter.
Beyond a certain point, Roark does not know himself or know much about life. His mind is uncluttered with thoughts about right and wrong in many areas. His modus operandi is a kind of untheoretical logic. He does not care about the world’s judgments on most subjects and comes to neglect those subjects, even at his peril. He is dangerously naive. When someone says he is “abnormal” or even “monstrous,” he just says “Probably.” When he begs Guy Francon to let him design a building his way, he unintentionally insults Francon. A more socially sophisticated person would not have implored Francon in this manner.
Roark gains in insight during the novel, and these insights engender changes in his personality, if not his fundamental premises (unlike Joseph Knecht’s insights in The Glass Bead Game). For example, Roark learns that he is a religious man in his own way from of all people, Ellsworth Toohey, via Hopton Stoddard. This revelation of Roark to himself moves him considerably and surely adds a much-needed degree of self-consciousness to his character. Presumably, it is this knowledge that enables him to build a temple.
It is easy to put Roark’s early independence and passion up on a pedestal, but that would be a mistake. Roark may be in some sense “ideal” for his stage of development, but in the long view, he is incomplete. Rand certainly does not mean the reader to see Roark as morally flawed in this regard. But she knows and tries to communicate that Roark has some growing to do and that his strengths lead him to fail to do some things he “should” do, such as to define his moral place in the world. And to do things he “should not” do, such as such as design buildings for Peter Keating.
In the human realm, Roark early on is inactive to the point of self-negligence. For example, he contacts Steve Mallory because he needs a statue. Apparently, it never occurs to him that he might simply enjoy the company of a person with Mallory’s view of human potential, although Mallory wishes he had met Roark outside of the context of a commission. And as he watches Mallory sob, realizes for the first time that he is engaged in a battle with part of the world and he feels a new emotion in the form of protectiveness for Mallory. A radically new kind of connection for the paradigm of independence.
In the most striking example, look at how surprised Roark is to find that he needs Dominique after their first sexual encounter. What did he expect from a lover? Nothing, because in his mid-twenties he never had that experience or even thought about the matter. Realizing he needs Dominique is not a mere revelation of character on Rand’s part or just a new insight on Roark’s part—it is an experience of connection that represents a change in Roark’s personality.
Or consider Roark’s relationship with Peter Keating. Roark keeps on helping Keating because he feels sorry for him, or to be exact because he feels sorry for Keating’s buildings. He just cannot stand by and watch a building be botched—even though he knows they will be botched every day. If he gave the matter five minutes thought he would see that he was not doing himself or Keating any favors with these acts of “mercy.” Further, agreeing to design the Cortlandt housing project for Keating is the biggest error Roark commits in the story, a definite flaw for which he is justly punished by the ordeal that follows. Roark’s dealings with Keating demonstrate one of Roark’s serious defects as a person, one that exists almost to the very end of the novel, and he cannot help himself because he has no theoretical framework.
Read Part Two here
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Kurt Keefner is an author, columnist, and educator. He is author of the non-fiction book Killing Cool: Fantasy vs. Reality in American Life. You can visit his blog at kurtkeefner.com and browse his past Atlasphere columns through his directory profile.