Quotes

page 449-455 below

Gail Wynand rose and met her halfway across his office.
"how do you do, Mr. Wynand," said Dominique.
He moved a chair for her, but when she sat down he did not cross to sit behind his desk, he stood studying her professionally, appraisingly. His manner implied a self-evident necessity, as if his reason were known to her and there could be nothing improper in this behavior.
"You look like a stylized version of your stylized version," he said. "As a rule seeing the models of art works tends to make one atheistic. But this time it's a close one between that sculptor and God."
"What sculptor?"
"The one who did that statue of you."
He had felt that there was some story behind that statue and he became certain of it now, by something in her face, a tightening that contracdicted, for a second, the trim indifference of her self-control.
"Where and when did you see that statue, Mr. Wynand?"
"In my art gallery, this morning."
"Where did you get it?"
It ws his turn to show perplexity. "But don't you know that?"
"No."
"Your friend Ellsworth Toohey sent it to me. As a present."
"To get this appointment for me?"
"Noth through as direct a motivation as I believe you're thinking. But in substance--- yes."
"He hasn't told me that."
"Do you mind my having the statue?"
"Not particularly."
"I expected you to say that you were delighted."
"I'm not."
He sat down, informally, on the outer edge of his desk, his legs streched out, his ankles crossed. He asked:
"I gather you lost track of that statue and have been trying to find it?"
"For two years."
"You can't have it." He added, watching her: "You might have Stoneridge."
"I shall change my mind. I'm delighted that Toohey gave it to you."
He felt a bitter little stab of triumph--- and of disappointment, in thinking that he could read her mind and that her mind was obvious, after all. He asked:
"Because it gave you the interview?"
"No. Becasue you're the person before last in the world whom I'd like to have the statue. But Toohey is last."
He lost the triumph; it was not a thing which a woma intent on Stoneridge should have said or thought. He asked:
"You didn't know that Toohey had it?"
"No."
"We should get together on our mutual friend, Mr Ellsworth Toohey. I dont' like being a pawn and I don't think you do or could ever be made to. There are too many things Mr. Toohey chose not to tell. The name of that sculptor, for instance."
"De didn't tell you that?"
"No."
"Steven Mallory."
"Mallory?. . . Not the one who tried to . . ." He laughed aloud.
"What's the matter?"
"Toohey told me he couldn't remember the name. That name."
"Does Mr. Toohey still astonish you?"
"He has, several times, in the last few days. There's a special kind of subtlety in being as blatant as he's been. A very difficult kind. I almost like his artistry."
"I don't share your taste."
"Not in any field? Not in sculpture--- or architecture?"
I'm sure not in architecture."
"Isn't that the utterly wrong thing for you to say?"
"Probably."
He looked at her. He said: "You're interesting."
"I didn't intend to be."
"That's your third mistake."
"Third?"
"The first one was about Mr. Toohey. In the circumstances, one would expect you to praise him to me. To quote him. To lean on his great prestige in matters of architecture."
"But one would expect you to know Ellsworth Toohey. That should disqualify any quotations."
"I intend to say that you--- had you given me the chance you won't give me."
"That should make it more entertaining."
"You expect to be entertained?"
"I am."
"About the statue?" It was the only point of weakness he had discovered.
"No." Her voice was hard. "Not about the statue."
"Tell me, when was it made and for whom:"
"Is that another thing Mr. Toohey forgot?"
"Apparently."
"Do you remember a scandal about a building called the Stoddard Temple? Two years ago. You were away at the time."
"The Stoddard Temple. . . . How did you happen to know wher I was two years ago? . . . Wait, the Stoddard Temple. I remember: a sacreligious church or some such object that gave the Bible brigade a howling spree."
"Yes."
"There was . . .? He stopped. His voice sounded hard and reluctant--- like hers. "There was the statue of a naked woman involved."
"Yes."
"I see."
He was silent for a moment. Then he said, his voice harsh, as if he were holding back some anger whose object she could not guess:
"I was somewhere around Bali at the time. I'm sorry all New York saw that statue before I did. But I don't read newspapers when I'm sailing. There's a standing order to fire any man who brings a Wynand paper aboard the yacht."
"Have you ever seen pictures of the Stoddard Temple?"
"No. Was the building worth the statue?"
"The statue was almost worthy of the building."
"It has been destroyed, hasn't it?"
"Yes. With the help of the Wynand papers."
He shrugged. "I remember Alvah Scarret had a good time with it. A big story. Sorry I missed it. But Alvah did very well. Incidentally, how did you know that I was away and why has the fact of my absence remained in your memory?"
"It was the sory that cost me my job with you."
"Your job? With me?"
"Didn't you know that my name was Dominique Francon?"
Under the trim jacket his shoulders made a sagging movement forward; it was suprise--- and helplessness. He stared at her, quite simply. After a while, he said:
"No."
She smiled indifferently. Se said: "It appears that Toohey wanted to make it as dificult for both of us as he could."
"To hell with Toohey. This has to be understood. It doesn't make sense. You're Dominique Francon?"
"I was."
"You worked here, in this building, for years?"
"For six years."
"Why haven't I met you before?"
"I'm sure you don't meet every one of your employees."
"I think you understand what I mean."
"Do you wish me to state it for you?"
"Yes."
"why haven't I tried to meet you before?"
"Yes."
"I had no desire to."
"That, precisely, downt' make sense."
"Whall I let this go by or understand it?"
"I'll spare you the choice. With the kind of beauty you posess and with kowledge of the kind of reputation I am said to posess--- why didn't you attempt to make a real career for yourself on the Banner?"
"I never wanted a real career on the Banner."
"Why?"
"Perhaps for the same reason that makes you forbid Wynand papers on your yacht."
"It's a good reason," he said quietl. The he asked, his voice casual again: "Let's see, what was it you did to get fired? You went against our policy, I believe?"
"I tried to defend the Stoddard Temple."
"Didn't you know better than to attempt sincerity on the Banner?"
"I intended to say that to you--- if you'd given me the chance."
"Are you being entertained?"
"I wasn't, then. I liked working here."
"You're the only one who's ever said that in this building."
"I must be one of two."
"Who's the other?"
"Yourself, Mr. Wynand."
"Don't be too sure of that." Lifting his head, he saw the hit of amusement in her eyes and asked: "You said it just to trap me into that kind of a statement?"
"Yes, I think so," she answered placidly.
"Dominique Francon . . ." he repeated, not addressing her. "I used to like your stuff. I almost wish you were her to ask for your old job."
"I'm here to discuss Stoneridge."
"Ah, yes, of course." He settled back, to enjoy a long speech of persuasion. He thout it would be interesting to hear what arguments she'd choose and how she'd act in the role of petitioner. "Whell, what do you wish to tell me about that?"
"I should like you to give that commission to my husband. I understand, of course, that there's no reason why you should do so--- unless I agree to sleep with you in exchange. If you consider that a sufficient reason--- I am willing to do it."
He looked at her silently, allowing no hint of personal reaction in his face. She sat looking up at him, faintly astonished by his scrutiny, as if her words had deserved no special attention. He could not force on himself, though he was seeking it fiercley, any other impression of her face than the incongruous one of undisterbed purity.
He said:
"That is what I was to suggest. But not so crudely and not on our first meeting."
"I have saved you time and lies."
"You love your husband very much?"
"I despise him."
"You have a great faith in his artistic genius?"
"I think he's a third-rate architect."
"Then why are you doing this?"
"It amuses me."
"I though I was the only one who acted on such motives."
"You shouldn't mind. I don't believe you've ever found originality a desirable virtue, Mr. Wynand."
"Actually, you don't care whether your husband gets Soneridge or not?"
"No."
"And you have no desire to sleep with me?"
"None at all."
"I could admire a woman who'd put on an act like that. Only it's not an act."
"Its' not. Please odn't begin admiring me. I have tried to avoid it."
Whenever he smiled no obvious movement was required of his facial muscles; the hint of mockery was always there and it merely came into sharper focus for a moment, to recede imperceptibly again. The focus was sharper now.
"As a matter of fact," he said, "your shief motive is I, after all. The desire to give yourself to me." He saw the glance she could not control and added: "No, don't enjoy the thought that I have fallen into so gross an error. I didnt' mean it in the usual sense. But in its exact opposite. Didn't you say you conisdered me the person before last in the world? You don't want Stoneridge. You want to sell yourself for the lowest motive to the lowest person you can find."
"I didn't expect you to understand that," she said simply.
"You want--- men do that sometimes, not women--- to express through the sexual act your utter contempt for me."
"No, Mr. Wynand. For myself."
The tin line of his mouth moved faintly, as if his lips had caught the first hit of a personal revelation--- an involuntary one and, therefore, a weakness--- and were holding it tight while he spoke:
"Most people go to very great lenght in order to convince themselves of their self-respect."
"Yes."
"And, of course, a quest for self-respect is proof of it's lack."
"Yes."
"Do you see the meaning of a quest for self-contempt?"
"That I lack it?"
"And that you'll never achieve it."
"I didn't expect you to understand that either."
"I wouldn't say anything eltse--- or I'll stop being the person before last in the world and I'll become unsuitable to your purpose." He rose. "Shall I tell you formally that I accept your offer?"
She inclined her head in agreement.
"As a matter of fact," he said, "I don't care whom I choose to build Sotneridge. I've never hired a good architect for any of the things I've built. I give the public what it wants. I was stuck for a chice this time, because I'm tired of the bunglers who've worked for me, and it's hard to decide without standards or reason. I
'm sure you dont' mind my saying this. Im really grateful to you for giving me a much better motive than any I could hope to find."
"I'm glad you didn't say that you've always admired the work of Peter Keating."
"You didn't tell me how glad you were to join the distinguished list of Gail Wynand's mistresses.s"
"You may enjoy my admitting it, if you wish, but I think we'll get along very well together."
"Quite likely. At least, you've given me anew experience: to do what I've always done--- but honestly. Shall I now begin to give you my orders? I won't pretend they're anything else.?
"If you wish."
"You'll go with me for a two months' cruise on my yacht. We'll sail in ten days. When we come back, you'll be free to return to your husband--- with the contract for Stoneridge."
"Very well."
"I should like to meet your hustband. Wil you both have dinner with me Monday night?"
"Yes, if you wish."
When she rose to leave, he asked:
"Shall I tell you the difference between you and your statue?"
"No."
"But I want to. It's starting to see the same elements used in two compositions with opposite themes. Everything about you in that statue is the theme of exaltation. But your own theme is suffering.?
"Suffering? I'm not concious of having shown that."
"You haven't. That's what I meant. No happy person can be quite so impervious to pain."

Capitals

Authority has us so well conditioned. For example, when you read something that is in all-caps, it's as if you can hear the person who wrote it yelling their words at you. This may be the desired effect, but what if everything was written in capitals? I recently encountered an entire piece of writing in capitals and I was unable to get the voice to stop yelling. Interesting.

If Romeo was truly yelling this, the scene would be ruined. So try to 'turn off the all-caps in your mind'

BUT, SOFT! WHAT LIGHT THROUGH YONDER WINDOW BREAKS?
IT IS THE EAST, AND JULIET IS THE SUN.
ARISE, FAIR SUN, AND KILL THE ENVIOUS MOON,
WHO IS ALREADY SICK AND PALE WITH GRIEF,
THAT THO HER MAID ART FAR MORE FAIR THAN SHE:
BUT NOT HER MAID, SINCE SHE IS ENVIOUS;
HER VESTAL LIVERY IS BUT SICK AND GREEN
AND NONE BUT FOOLS DO WEAR IT; CAST IT OFF.
IT IS MY LADY, O, IT IS MY LOVE!

Chasm

It is interesting t o o bserve things that are ru ptured, that a re sh eared, that are to rn apa rt and th en are left apart with the obvious yearning to bring them back together, but nonetheless are left a pa rt. I am interested in the fragmentary, the wrenching apart and seeing se ve ral sides of thing s s imultaneou sly because when they are left apart it invites participation.

Helico Bacter: Held

Because we love flow, our minds can't even stop to consider something that is different, to consider change, that we fill in the gaps to make it look like something we recognize already. So we don't have to think.

Teaching, Life and other things

Reading the musings of intellectuals is so very interesting. I prescribe myself to read minimum two intellectual musings per day in order to stay enlightened.

More Stanley Tigerman, of course.

"So the whole business about practicing and teaching in this sort of interface specifically in Chicago is interesting because first of all when you teach, when you expose yourself to students the most significant thing that you do is that you make yourself vulnerable and vulnerability then is terribly important. That is to make yourself less than perfect by the proximity to a person who is probing, which is the normal domain of the young. They will probe and ask questions and would maybe become quite antagonistic because they are envious, because you are older, because your name is already more recognized than theirs and they thereby attack you. That attack and your capability or lack of it, of handling it makes yourself vulnerable and it’s very important in practice if you are to remain new and fresh in terms of ideas and keeping yourself open." (35)

"…the reportage of a time, its’ literature, the rules by which you analyze that, the philosophy of it, and then sort of underlying belief-systems; religion. That’s it. That’s what Life’s about." (36)

"Well but architecture has always been [seen through literature, philosophy and religion]. Plato himself once said that art is in the shadow of the truth; so I mean of course that architecture is the shadow of those things, so if you don’t’ know of those things, how can you fuck around with the shadow? The substance is the Literature, the Philosophy and the Religion of our culture, of our joint and several cultures going all the way back." (36)

"Can you not evaluate things without truth being brought into physical fact? For example in the last chapter of my book where the entire subject is the so called “unresolved dialectic” where building s that are ruptured, that are sheared, that are torn apart and then are left apart with the obvious yearning to bring them back together, but nonetheless are left apart... Normally buildings are platonic; that is to say, a building always has a holistic, it has a whole form, and when you look at it, it is together, and may deal with any number of things but it has an image which is called platonic; that is a cube, sphere, or something. And most buildings, lets’ even talk about houses, tend to be platonic in the sense that they have a wholeness. We are just finishing a house in a suburb in Chicago that is a vernacular fragment next to a classical fragment. It is a very small house and it looks huge because there are fragments... [My bias at the moment is] the study of opposites, so to speak, and in that sense brought architecturally, in other words brought into physical form at the same time. You can always study the truth; you can always go out and build the truth. I am interested in the fragmentary, the wrenching apart and seeing several sides of things simultaneously because when they are left apart it invites participation... I think that by building pieces that you think out, leave apart and allow people to bring back together; to participate however perceptually or vicariously or voyeuristically, has some meaning in a certain way. At another level entirely it allows you to study the several sides of the truth. You do that educationally in architecture all the time." (38)

JAE/Interview: Stanley Tigerman. Peter C. Papademetriou and Stanley Tigerman. JAE, Vol. 36, No. 1 (Autumn, 1982), pp. 34-43