In the 12/8 New Yorker Rebecca Rothbaum reminds us of Robert Graves’ old saw that “just as there is no money in poetry, there is no poetry in money.” [I learn from the Spectator that Graves said that in a speech to the London School of Economics in 1963.]
Of course it's well known that there's no money in poetry. As proof, the Spectator article notes that the job of Poet Laureate pays £5,000 and a "butt of sack" a year (which actually isn't that bad, considering that a butt of sack is 108 gallons of sherry).
This supposed incompatibility between poetry and money is one of the possible explanations I give for the treatment of business in film in my Wall Street and Vine.
But poets do have to eat. In the New Yorker piece, Rothbaum discusses Katy Lederer, MFA in Poetry from the Iowa Writers’ Workshop, who until recently worked at a hedge fund (until the publication of her recent poetry collection about money).
So, I wonder, what kind of a hedge fund person was this poet? Well, Lederer says she could see from her vantage point at the hedge fund that the bubble was about to burst:
It was in the air three years ago. Like, at work everyone knew. Even I could tell it was going to happen. I wondered, why would people trade if they knew the bubble would burst? That’s what the whole book is about.
Maybe bubbles officially burst when the poets find out about them.
Anyway, I beg to differ with the premise: there is, in fact, a lot of poetry in money. To begin with, you can’t do poetry without money. To quote the above Spectator article:
Dorothy Rowe, psychologist and author of The Real Meaning of Money, thinks, by contrast, that there is a kind of poetry in money, because money ‘can allow us to express something that’s within us that we’ve never been able to express’. By contrast, people who are genuinely destitute ‘have to abandon or never acquire a certain amount of humanity; they are always just trying to stay alive so can’t consider other people. You have to be able to stop thinking about money in order to think about other people.
A productive society produces more and better poetry. Poets and other anti-capitalists should try to keep that in mind.
And there’s tragedy, a kind of poetry, in money. Rothbaum describes a Lederer poem, “Intimacy,” as
probably the first love poem to cite the nineteen-eighties junk-bond king Michael Milken” * * * Lederer said she views Milken as a “Gollum-like” figure. “He was a creative genius, the way that he packaged debt,” she said. “In finance, that makes you Mozart. Ultimately, however, that was also his downfall.”
But wasn’t Milken’s (or Skilling’s) downfall tragic? Like Oedipus, Macbeth or Icarus, his ambition challenged the regulatory gods, and he was brought down by his excessive pride, $550 million bonus and his Predator’s Ball. The parking violation was just the mechanism.
The story of the Milken types won’t likely be presented this way because in our society the money people are generally considered too trivial to be worthy of tragedy. The supposedly important people are thought to be the artists, journalists, novelists and screenwriters, though they perform on the stage that the capitalists built for them.
And, finally, poets have indeed literally found poetry in money. I'll close with a couple of quotes from the Spectator article.
Money Money, the long green, cash, stash, rhino, jack or just plain dough. Chock it up, fork it over, shell it out. Watch it burn holes through pockets. To be made of it! To have it to burn! Greenbacks, double eagles, megabucks and Ginnie Maes. It greases the palm, feathers a nest, holds heads above water, makes both ends meet. Money breeds money. Gathering interest, compounding daily. Always in circulation. Money. You don’t know where it’s been, but you put it where your mouth is. And it talks. [Dana Goia]
Which leads to our topical closer, from Richard Armour: "That money talks I’ll not deny, I heard it once,It said ‘Goodbye’."
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