“However great a man’s fear of life, suicide remains the courageous act, the clear-headed act of a mathematician. The suicide has judged by the laws of chance—so many odds against one that to live will be more miserable than to die. His sense of mathematics is greater than his sense of survival. But think how a sense of survival must clamour to be heard at the last moment, what excuses it must present of a totally unscientific nature.”

Source: The Presence of the Kingdom (1948), p. 28

The Tall Office Building Artistically Considered (1896)
Context: We must now heed the imperative voice of emotion.
It demands of us, What is the chief characteristic of the tall office building? And at once we answer, it is lofty. This loftiness is to the artist-nature its thrilling aspect. It is the very open organ-tone in its appeal. It must be in turn the dominant chord in his expression of it, the true excitant of his imagination. It must be tall, every inch of it tall. The force and power of altitude must be in it the glory and pride of exaltation must be in it. It must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line, — that it is the new, the unexpected, the eloquent peroration of most bald, most sinister, most forbidding conditions.
The man who designs in this spirit and with the sense of responsibility to the generation he lives in must be no coward, no denier, no bookworm, no dilettante. He must live of his life and for his life in the fullest, most consummate sense. He must realize at once and with the grasp of inspiration that the problem of the tall office building is one of the most stupendous, one of the most magnificent opportunities that the Lord of Nature in His beneficence has ever offered to the proud spirit of man.
That this has not been perceived — indeed, has been flatly denied — is an exhibition of human perversity that must give us pause.

In his letter to Theo, The Hague, 11 March 1883, http://www.webexhibits.org/vangogh/letter/12/274.htm?qp=art.material,as translated by Johanna van Gogh-Bonger, edited by Robert Harrison, in The Complete Letters of Vincent van Gogh (1991) <br class="br">1880s, 1883 <br class="br">Context: It constantly remains a source of disappointment to me that my drawings are not yet what I want them to be. The difficulties are indeed numerous and great, and cannot be overcome at once. To make progress is a kind of miner’s work; it doesn’t advance as quickly as one would like, and as others also expect, but as one stands before such a task, the basic necessities are patience and faithfulness. In fact, I do not think much about the difficulties, because if one thought of them too much one would get stunned or disturbed.<br>A weaver who has to direct and to interweave a great many little threads has no time to philosophize about it, but rather he is so absorbed in his work that he doesn’t think but acts, and he feels how things must go more than he can explain it. Even though neither you nor I, in talking together, would come to any definite plans, etc., perhaps we might mutually strengthen that feeling that something is ripening within us. And that is what I should like.

Source: The Fall of America: Poems of These States 1965-1971

Source: Star Bridge (1955), Chapter 20, “Prime Mover” (p. 275)

1998

Source: Atlas Shrugged

Source: The Great Hunt

In the Puppet Theatre: Roof Gardens, Feathers and Human Sacrifice (p. 87)
The Soul of the Marionette: A Short Enquiry into Human Freedom (2015)