As I looked at the Trump guest table dining with the President in Mar-a-Lago and noted the Prime Minister of Japan, Trump’s wife, a former supermodel sitting on one side who is an immigrant turned FLOTUS, then on the other is a president who just won the most dramatic election in American history—something unusual was taking place. Across from them was Bob Kraft, owner of the New England Patriots who had just won one of the biggest events in sports history in a dramatic fashion that rivals few great moments in any sport and I couldn’t help but think of Ayn Rand. All those people were accomplished individuals who are the engines of the modern world of their own professions reminding me of the scene from The Fountainhead—the classic American novel where the nude statue of Dominique Francon was revealed and the greatness that can be of mankind showed itself without fear. Outside of Mar-a-Lago were protesters and conniving politicians looking at every turn to destroy Donald Trump and his family for essentially the reasons identified in that great American novel, The Fountainhead.
As Trump entertained the Prime Minister I checked on my Hollywood news to note the status of The Fountainhead movie that Zach Snyder is working on with Warner Bros. The tricky business of movie making has Legendary Studios now owned by China so they are changing up the types of films that had been on their ledger. For instance Ayn Rand parables such as those found in Batman films, and clearly in the Superman films under Christopher Nolan and Zach Snyder are beginning to lose ground. The Great Wall starring Matt Damon comes out in the states on February 17th, but it’s not going anywhere yet, the media press for the industry are talking it up hoping to disguise the lack of public enthusiasm. The film will be lucky to do half a billion in business around the entire world—yet in communist China that will be considered a success whereas last year’s Batman v. Superman fell just shy of one billion globally, and was considered a failure. (That film had heavy Ayn Rand themes) The reasoning is essentially the same as those outlined in The Fountainhead novel. Since Legendary Studios took ownership the second Justice League film was canned awaiting the results of this summer’s Wonder Woman and then the Justice League later in the year. There have been a group of rebels at Warner Bros. who obviously love Ayn Rand and that has shown up in their superhero movies quite obviously—so my curiosity was whether or not Zach would be able to get a remake of The Fountainhead movie off the ground—because he’d be the guy to do it. But I wouldn’t hold my breath. After the violence and hatred exhibited toward the Donald Trump presidency, Warner Bros., who owns the script rights for The Fountainhead will likely shelve the project until the world is ready for such a thing—which under Chinese ownership of much of Hollywood these days—will be a while. Regardless, to understand why the dinner in Mar-a-Lago with the Prime Minister of Japan reminded me of The Fountainhead, here is the way that one of the main characters from the novel is described in synopsis former, Dominique Francon. Let me just say that I know a lot of women—and I know my share of Dominiques. In fact, guys—as you think of Valentine’s Day and what to get the woman in your life—yet she gives you all kinds of mixed messages—it would serve you well to read The Fountainhead to understand her. You’ll learn a lot more about women reading The Fountainhead than you will Fifty Shades of Grey. There are more women like Dominique than there are not—and Melania Trump is clearly one of them. Here is a bit about Dominique.
Dominique’s beauty and strength of spirit make her a perverse, unusual woman and the perfect complement to Howard Roark. At the beginning of the novel, she is convinced of the world’s rottenness and believes that greatness has no chance of survival. She surrounds herself with the things she despises to avoid watching the world destroy the things she loves. Dominique instantly recognizes Roark’s greatness, but she does not initially believe that he can survive in a selfless and irrational society. The thought that a man like Roark needs society in order to build pains Dominique, and she tries to destroy him before the rest of the world can. Yet Dominique wants to fail in her bid to destroy Roark, because if she fails it means absolute good and genius can survive even in an evil world.
Dominique is Roark’s lover and later his wife. An ardent idealist, she observes Greek sculpture, Roark’s buildings, the music of Tchaikovsky and Rachmaninoff, and she understands the human potential. Dominique recognizes man’s capacity for achievement, and this is the only thing she loves. Because she reveres man at his highest and best, she necessarily loathes most members of the human race, who fall below man’s potential. When she sees the manipulative Peter Keatings, the power-hungry Ellsworth Tooheys, and the masses who prefer Keating’s work to Roark’s, it fills her with despair. Dominique believes that the majority of men have no interest in living up to man’s highest nature, and that this unthinking herd wields the power in society. Dominique is consequently a philosophical pessimist, holding that the good have no chance in this world, that only the corrupt (Keating) and the evil (Toohey) will ultimately succeed. She is a major example in Ayn Rand’s writing of what the author terms the malevolent universe premise, the belief that the world is closed to the aspirations of good men, that only evil holds power.
Because of Dominique’s reverence for man’s noblest and best, she must love Roark; but because of her pessimism, she must hold the despairing belief that he has no chance to succeed in a world utterly hostile to him. She joins forces with Toohey, in an attempt to wreck Roark’s career, as an act of mercy killing. Roark must die at her hand — that of the one who loves him — rather than by the hand of a society that envies his greatness. “Let us say we are moles and we object to mountain peaks,” she admonishes the court and gallery at the Stoddard trial, stating that the temple must be torn down in order to save it from the world, not the world from it.
Because of Dominique’s fear that the world will destroy the noble men and works that she treasures, she refuses to pursue any values. Because the only worthwhile goals could never be reached, Dominique refuses to pursue any goals. She withdraws from active involvement in the world, pursuing neither career nor love, until the events of the story, over a period of years, convince her that Roark’s benevolent universe premise is true. Only when she sees the good succeeding on its own terms, and the evil powerless to stop it, does she realize that she has been mistaken regarding the world. Then she is free to help Roark and take her place by his side.
It is important to understand that, despite the error of her pessimistic philosophy, Dominique is independent in the use of her mind. The obvious examples of her first-handed functioning are her evaluations regarding architecture. Dominique understands that, despite some positive qualities, her father’s career is essentially phony and not worthy of admiration — and she is not reticent about stating her beliefs openly. She displays the same ruthless honesty regarding her father’s protégé and eventual partner, Peter Keating. Her independent judgment is equally apparent in regard to positive architectural appraisal — for despite society’s rejection of Henry Cameron and, later, Howard Roark, she understands that these outcasts are the greatest builders in the world. Perhaps the most telling piece of evidence supporting Dominique’s first-handedness is her assessment of Ellsworth Toohey. Though society regards Toohey as a paragon of moral saintliness, Dominique recognizes him for what he is — a viciously evil power-seeker.
The less obvious example of Dominique’s independence is how she changes her mind regarding her pessimistic worldview. She observes the lives of Howard Roark, Gail Wynand, Peter Keating, and Ellsworth Toohey. She sees that despite every obstacle that society places in Roark’s path, it cannot stop him. She witnesses the life of Gail Wynand, observing that, in the end, Wynand’s pandering brings him destruction, not joyous success. She sees that Keating’s career does not merely collapse, but does so because of his lying manipulativeness, which leads to his public exposure as a fraud. She notes that Toohey’s power-seeking is utterly defeated in the two major attempts of his life: He can neither gain control of Wynand’s Banner nor prevent Roark’s artistic and commercial success. Dominique observes that the facts of these men’s lives contradict her belief that the good will inevitably fail and the evil triumph. Based on the facts, she changes her mind, realizing that Roark’s benevolent assessment of life’s possibilities is true and her own malevolent view is mistaken. Her ability to change a fundamental component of her worldview is both rare and a testimony to her independence. She is committed to the facts, to truth, to her mind’s most honest judgment — not to the opinions of others. Dominique is a thinker. The willingness to think for herself is what enables her to change her life, and demonstrates that though independence is not a guarantee of arriving at the truth, it provides an individual with a self-regulating method of correcting her errors.
Clearly, this is the fundamental philosophic debate of our time–that under Trump the world will be cleared of its villains so that The Fountainheads can emerge into the world under a friendly flag of understanding from the American White House. The great fear that the political left has in America as well as everywhere in the world, is that mankind will learn of this attribute and they can’t hide it from people any longer. Some people are fountainheads of human achievement and most everyone else baths in their greatness by default—and that our education system should help all those little Dominiques emerge with her male counterparts, the Howard Roarks and the Gail Wynands—into the light of day without being destroyed as 1st grade children in a public school to become little Peter Keatings. The protestors of Trump, the current owners of Legendary Studios, and every head of all news departments—including Fox News are filled with Peter Keatings and Ellsworth Tooheys. It really isn’t that complex. When we try to view the world without these points of references, obviously nothing makes sense. But when we take art—American art in this case—and apply it to the world around us we see a pattern where the Vico cycle has constantly reverted mankind back to the origins of theocracy once democracy was toppled by the parasites of their day—and it has happened over and over again.
To that conclusion such claims require evidence, so over the coming weeks, I will provide it with articles here revealing a truth that has been hard for mankind to comprehend. But I must do it because we finally have people in the White House who understand all this, and they are acting authentically for perhaps the first time in all of human history and that includes Marcus Aurelius from the Roman Empire and Aristotle from the Greek. It includes every British monarch, every king of France, every great philosopher from the orient to the debate. It is time to wake up the eyes of the world and put them onto the potential of the human race which hatched quite spectacularly in Mar-a-Lago on the weekend of February 12, 2017.
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