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04 AUGUST, 2014

Henry Miller on Money and How It Gets That Way

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“The dilemma in which we find ourselves today is that no matter how much we increase the purchasing power of the wage-earner he never has enough.”

Henry Miller was not a man shy of strong opinions, having pondered such existential questions as the art of living, the joys of growing old, the future of humanity, and the meaning of life. But there was one inevitable, essential aspect of existence to which he’d never given much thought until his friend Ezra Pound, upon reading Miller’s controversial novel Tropic of Cancer in 1935, inquired about it: Miller received a postcard from Pound, penned “in his usual cabalistic style,” asking if he had ever considered the issue of money, “what makes it and how it gets that way.”

The question, at once simple and riddled with complexities, gave Miller pause. In the year that followed, he collected his “meditations and lucubrations” on the subject in Money and How It Gets That Way, originally published in Paris in 1938 and reissued in America as a limited-edition chapbook of 1,500 copies eight years later, shortly after the end of WWII — a time when the question of money was even more loaded, uncomfortable, and urgently pressing, making Miller’s angle of playfulness and poignancy all the more compelling. Only a few copies of the chapbook, which features illustrations by Jack Wright, are known to survive. The essay was eventually included in the anthology Stand Still Like the Hummingbird (public library), which also gave us Miller on originality.

After a brief history of how money was invented, Miller considers “the axiomatic” nature of the concept:

Money has no life of its own except as money. To the man in the street, unaccustomed to thinking of money in abstract terms, this obvious truism may smack of casuistry. Yet nothing could be more simple and consistent than this reduction to tautology, since money in any period whatever of man’s history has, like life itself, never been found to represent the absence of money. Money is, and whatever form or shape it may assume it is never more nor less than money. To inquire therefore how it comes about that money has become what it now is is as idle as to inquire what makes evolution.

[...]

Money, then, whatever its real nature, reveals itself to us through form. Just as hydrogen and oxygen reveal their presence to us in varying forms and yet are not themselves, either separately or combined, such as water or peroxide, so money, whether in specie or counterfeit, is always something inclusive, coexistent, consubstantial and beyond the thing manifest. In a profound sense money may be said to resemble God Almighty.

This worship of money, Miller argues, effects a particular deterioration of the soul. A man of wide and cross-disciplinary interests, he crafts an apt metaphor out of the biological process of heart-rot — a fungal disease that decays a tree’s trunk and branches from the inside out, which scientists first began studying about a decade before Miller’s treatise. With his signature blend of intellectual wisdom and irreverent wit, he writes:

To borrow an expression from the arboriculturist, we might add that gold has a tendency at times to bring about a condition of “white heart rot.” That is to say that, though outwardly all may seem well, the eye of the forester can detect beneath the bark the disease which lurks in the very heart of the tree and ravages it mercilessly. White-heart-rot has been frequently compared to tuberculosis in the human organism; it is encountered chiefly in metropolitan areas among city trees. In finance it is recognized as “inflation.” If the disease has not completely eaten the tree away cement may be administered to preserve what life is left. With dying currencies the treatment employed is to amass gold, or to ship it frantically from one country to another. Whenever, therefore, gold is amassed in unusual quantities, or when its movements become erratic and frenetic, the indications are that the money of the countries in question is diseased.

This rotting of the psyche, Miller suggests, is rooted in a dynamic that springs from the religious concept of guilt and has to do with the notion of debt:

The evolution of the idea of money is closely associated, for reasons which must be apparent to even the most casual observer, with the development of the notions of sin and guilt. Even in the earliest periods of trade we find rudimentary principles at work such as would lead us to believe that primitive man had evolved methods of exchange which sui generis implied the existence of debt. It was not until Ricardo’s time, however, that a formula was arrived at which expressed the relationship between debtor and creditor beyond all caviling. With almost Euclidian simplicity Ricardo summed it up thus: “a debt is discharged by the delivery of money.”

But what compounds these symbolic complexities is also the fact that money itself has become an abstraction — something Miller argues was brought on by the invention of double-entry bookkeeping, which led money to be “regarded not in terms of pieces of money but as an abstract symbol of wealth”:

With the invention of double-entry bookkeeping … the reality of money began to diminish until in our day it has almost disappeared entirely.

It’s worth pausing here to note that Miller expressed these concerns in 1936, decades before credit and charge cards became the dominant Western mode of payment — practice that further abstracts money and removes it from its source, to say nothing of recent modalities like crypto-currency, abstracting the transactional exchange of goods and services further still.

And yet, noting that money evolved out of the gold standard, Miller laments the “great pity” of the shift away from it, “for gold is capable of making a greater appeal to the imagination than any other symbol known to man.” But perhaps the very allure of concepts like crypto-currency lies in their ability to stir the imagination in new, differently compelling ways. Still, despite this — or because of it — Miller’s words ring with double poignancy today:

To have money in the pocket is one of the small but inestimable pleasures of life. To have money in the bank is not quite the same thing, but to take money out of the bank is indisputably a great joy. The pleasure then is in the handling, not the spending necessarily, as some economists would have us believe. It is very possible, indeed, that the coin or specie came into existence to meet this very human need…

Here, Miller makes an interesting point about the concept of price — perhaps the most artificial abstraction of all:

A price is a piece of goods, a commodity as we say, expressed in gold or any other metal that is acceptable to the public conscience, without the necessity of being weighed on the spot. Price has value only to the extent that there is a mobile cash quantum to back it up. Anything which can inflate to-day and collapse to-morrow has neither weight, substance nor value. It is not even gas, because gas after all answers to all three of these descriptions. This is to my mind the best proof of what thinking in money leads to, which is the collapse of thinking, or, as Sir Isaac Newton expressed it, “a vacuum in extenso.”

And so we get to the difference between money and wealth and the disconnect between being rich and being wealthy. Long before the concept of “the hedonic treadmill” was coined, Miller describes it with immeasurable wisdom and wit:

Money … is only theoretically related to wealth. In the realm of theory it is true that “action and reaction are equal and opposite,” but money is more than a theory, and wealth, even if it is not money, is at any rate something real. What is needed above everything is a clear conception of money.

The dilemma in which we find ourselves today is that no matter how much we increase the purchasing power of the wage-earner he never has enough. If he has enough money to own a Ford he wants a Packard; if he has a Packard he wants a Rolls Royce, and if he has a Rolls Royce he wants an aeroplane… Men imagine that they need money, that if they had it they could satisfy their desires, cure their ills, insure their old age, and so on. Nothing could be farther from the truth. For if it were so that money could accomplish all these miracles, then the happiest man on earth would be the millionaire, which is obviously an untruth. Naturally those who have not enough to eat, nor place to sleep, are just as miserable as the millionaire, perhaps even more miserable, though it is difficult at times to tell with certainty. As always, the golden mean obtains. He is sure to be more happy who has eaten well and slept well and has besides a little money in his jeans. Such men are rare to find for the simple reason that most men are incapable of appreciating the wisdom of such a simple truth. The worker thinks he would be better off if he were running the factory; the owner of the factory thinks he would be better off if he were a financier; and the financier knows he would be better off if he were clean out of the bloody mess and living the simple life.

Money, then, is best used as a dynamic method for inhabiting the present moment, rather than a static symbol of wealth to amass and hold on to for future use — another manifestation of Miller’s philosophy of flux. He writes:

Money is one of the insoluble problems of life. Men of theory will tell you that it is unnecessary, but men of theory are generally very ignorant fellows. Often they have never had any money, and if they had it they wouldn’t know what to do with it. The last thing in the world to occur to their minds would be to spend it. And yet that is the chief satisfaction which money affords. Whoever has money let him put it in circulation!

Money and How It Gets That Way is, sadly, well out of print but well worth the hunt. Complement it with John Armstrong on how to worry less about money and Paul Graham on how to get rich, then revisit Miller on growing old, the meaning of life, and his irreverent notice to visitors.

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04 AUGUST, 2014

The Best-Kept Secret of Clichés: How to Upgrade Our Uses and Abolish Our Abuses of Language

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A manifesto against mindless language, or how to get off autopilot in the art of communication.

“Aphoristic thinking is impatient thinking,” Susan Sontag wrote in her diary in 1980, lamenting the commodification of wisdom. But there is a yet greater abuse of language that bespeaks such impatience that bleeds into cognitive laziness — the aphorism’s cousin, the cliché, arguably the most successful meme of language. In It’s Been Said Before: A Guide to the Use and Abuse of Clichés (public library), lexicographer and linguistics researcher Orin Hargraves embarks on a quest to empower you to “proceed with the confidence that you have made peace with clichés through greater understanding and that you have established a relationship with them that will serve your interests when you write and speak.”

That understanding begins with the word itself: Hargraves points out that it comes from French, where it originally denoted “a convenience of printing, specifically a stereotype block bearing text that was used to produce multiple printed copies” — hence its present semantic representation of a reusable template-expression. Hargraves outlines his mission in unambiguous terms:

I have persisted in my attempt to stop some clichés in their flight, capture and anesthetize them, splay their dull wings, pin them to the specimen board, and make them visible for all to see, so that they may be revealed in their true lack of color. My intention is to make speakers and writers more aware of the occasions when they are using clichés or when they think that they need to — for it must surely be the case that clichés are largely used mindlessly, given their viral proliferation. An increased awareness of clichés and the detriment that they typically represent to effective communication should serve as a motive for language users to consider alternatives to them.

Illustration by Maurice Sendak from 'Open House for Butterflies' by Ruth Krauss. Click image for details.

Indeed, this viral nature of clichés is both the reason for their success and their greatest failure of imagination. Hargraves explains:

A quality of clichés that is typically overlooked when people are disparaging them is that many of them are really very clever and original. Or rather, they were very clever and original the first time they appeared… Clichés are very often a victim of their own early success.

And yet defining what makes a cliché remains a tricky endeavor — while most language scholars agree that its core characteristics are “overuse and ineffectiveness,” it’s hard to arrive at agreement over these qualities or who is to judge their degree of manifestation. Hargraves writes:

Nearly all judgments about what constitutes a cliché have traditionally relied on consensus: if enough people think a form of words is overused, or if a person who is perceived as having some authority about language declares such a thing, then the word or phrase becomes a cliché. The result of this haphazard process is that many phrases are designated clichés without there being evidence of their frequent use. That is, infrequently used words and phrases may be deemed clichés, simply because a large number of people, or a small number of influential people, find them annoying or designate them as clichés for some other reason… But they are never annoying in equal measure, to the same people, in the same contexts, and for the same reasons.

But while human judgments of what constitutes overuse are invariably subjective, lexicographers can turn to artificial intelligence for a more reliable assessment. A corpus — “a collection of natural language in machine-readable form, assembled for the purpose of linguistic research” — can reveal statistical relationships between words and their usage in specific groupings in natural speech or writing. Hargraves explains:

From these statistics emerge portraits of the life of words, their mating habits, their abuses, their triumphs and failings, in a much clearer and more comprehensive light than can be gleaned from casual reading or listening; it is a portrait that is far more dependable than the one that results from merely consulting your intuition about how often a form of words is used or whether people use it consistently, aptly, or inappropriately. Modern computational lexicography makes it possible to learn at a glance which pairs or groups of words are getting together far more often than their overall frequency in the language suggests that they would. Such pairings of words are called collocations and may include typical combinations representing several different parts of speech, such as adjective + noun (like abject poverty), noun + noun (like software download), or adverb + verb (like virtually guarantee).

Illustration by Ben Shahn from Alistair Reid's 'Ounce Dice Trice,' a children's book that plays with extraordinary names for ordinary things. Click image for details.

Often, however, it is misuse rather than overuse that renders something a cliché. Hargraves offers an illustrative example:

Take the noun phrase best-kept secret. Best-kept, as an adjective, has few uses in English other than to precede the word secret, and discounting the adjective dark, best-kept is the adjective most likely to be found preceding secret in nearly every genre of writing. But as a few examples will show, things that are dubbed best-kept secrets are in fact often not secret at all, and it is rarely specified, sometimes not even implied, in what sense they are “kept.” This, in effect, makes both parts of this compound expression not very meaningful. It is also the case that the best-kept secret is found preponderantly in journalism, a medium that is by its nature contrary to the idea of “secret.”

Indeed, Hargraves holds journalism particularly accountable for perpetuating clichés — the very tendency, no doubt, that originated the disparaging pun “churnalism.” He writes:

Of all genres … none is more cliché-burdened today than journalism. Journalism has been historically and continues to be the true home of the cliché… Many phrases originate in genres outside of journalism and continue to have a specific or technical meaning in their place of origin: matter of fact in law, for example, or exhibit a tendency in scientific writing. Once an expression has made a home in the fertile and supportive soil of journalism, however, it thrives and grows in thick patches, often losing its particular semantic characteristics.

He goes on to bemoan the fact that “journalism contains more clichés per unit of text than any other genre” and later hones the precision of his arrow, making the unambiguous assertion that “journalism is demonstrably the greatest repository of cliché in English,” adding that “this is not a criticism, just a fact.” Curiously, though, Hargraves makes a distinction between “journalism” and “blogging,” chastising them on a sliding scale of “spreading and popularizing (and thus further deadening) clichéd expressions” — a rather dated divide in an era when some of the best independent journalism takes place on “blogs” and every major print publication has an online presence of the “blog” variety. (Blogs, he argues, are “full of unedited writing that is shot through with clichés, which are gobbled up uncritically by the avid perusers of these genres” — a rather ungenerous depiction of online readers, to say nothing of writers.) Journalism, after all, is a genre of cultural commentary and criticism, and a blog is merely a platform for publishing, whatever the genre — comparing a genre to a platform seems, to use the appropriate and thus non-clichéd idiom, an apples-to-oranges proposition.

Illustration from 'The Little Golden Book of Words,' 1948. Click image for details.

But misplaced distinction aside, Hargraves makes a gravely valid and urgent point about the responsibility of writers today, be they “journalists” or “bloggers,” in an age when writing is considered “content” and treated as the vacant page-filler the term implies; when Emerson and Longfellow’s journal lives on to publish “native advertising” for the Church of Scientology on the web and once-reputable business magazines have reincarnated as listicle-purveyors online. Echoing Schopenhauer’s lament on writing “for the sake of filling up paper,” Hargraves’s words ring with particular poignancy in our present context of formulaic language that borders on content farming:

People who are required to write — whether hastily or not — and those who write without any awareness of what separates good writing from bad, such as poorly educated students or poorly read adults, naturally write in a semiautomatic style… Taken together then, carelessness and ignorance are certainly responsible for a great deal of cliché that is expressed in speech and print.

[...]

Journalists are required to produce verbiage hastily most of the time. While their work is typically edited, it is not edited for clichés because cliché is a substantial part of the code of journalism, and consumers of journalism accept conventional and stereotyped ways of expressing ideas, whether consciously or unconsciously, as part of the diet. Because of the natural tendency of speakers and writers to be influenced by what they read and hear, it is also inescapable that journalists are the greatest vectors of cliché in English.

Therein lies Hargraves’s most important point — a case for the eradication of clichés as a political act, part of our shared civic responsibility as readers, writers, and users of language. Echoing Virginia Woolf’s manifesto for the glory of language, he writes:

There is so much writing and speech that has clearly been done with no clear thought given to the purpose of the words that compose it. If all writing was entirely of this kind, it seems likely that people would be put off reading and clichés would live in a rather small, moribund world that would eventually extinguish itself. But we all must read, whether for entertainment, vital communication, or acquiring new information; and all of the writing we read is bound to contain some portion of cliché. Because of these factors we cannot help exposing ourselves to cliché and being infected by it. Whether we become active vectors of cliché ourselves is a matter of choice. All that is required for clichés to flourish is for good writers to disengage their attention from what they are doing.

[...]

A cliché in itself and by definition has no element of originality and if a cliché is to be used, it places greater demands on a thoughtful writer to justify its use in preference to a more straightforward or succinct expression. Requiring a cliché to do more than it normally does by extending its meaning, application, or reference is one way to do this.

What Penguin publisher Sir Allen Lane memorably said of design, Hargraves asserts about language:

It takes only a little more time, but considerably more effort, to write mindfully than it does to write mindlessly. You have to engage your intellect and examine the requirements of what you mean to express, and the words available to do it for you. But writing mindfully can be developed to become a habit with some effort, just as writing mindlessly becomes a habit with no effort.

In the remainder of It’s Been Said Before, Hargraves draws on corpus data to identify some of the most toxic clichés in the English language and goes on to equip us with the tools and critical thinking necessary for using more imaginative alternatives to them. Complement it with a stimulating examination of another centerpiece of linguistic communication, the magical world of metaphor, then revisit these five excellent books on language.

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25 JULY, 2014

“Vacation Sex”: A Poem by Dorianne Laux

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“…in hotels under overpasses or rooms next to ice machines, friends’ fold-out couches…”

“Love is never finished expressing itself,” philosopher Gaston Bachelard wrote in his beautiful essay on poetic reverie, “and it expresses itself better the more poetically it is dreamed.” While love and sex might be worlds of ambiguity apart, one would hope this sentiment holds equally true of sex and the poetics of desire.

In 1999, poet Dorianne Laux visited my alma mater, the Kelly Writers House at the University of Pennsylvania, for a reading and discussion of her work. Among the poems she read was “Vacation Sex,” found in her altogether enchanting collection Facts About the Moon: Poems (public library) — a tongue-in-cheek yet strangely sensual homage to that particular, charmingly undignified, peculiarly romantic-in-its-scruffiness form of intimacy.

We’ve been at it all summer, from the Canadian border
to the edge of Mexico, just barely keeping it American
but doing okay just the same, in hotels under overpasses
or rooms next to ice machines, friends’ fold-out couches,
in-laws’ guest quarters—wallpaper and bedspreads festooned
with nautical rigging, tiny life rings and coiled tow ropes—

even one night in the car, the plush backseat not plush
enough, the door handle giving me an impromptu
sacro-cranial chiropractic adjustment, the underside
of the front seat strafing the perfect arches of his feet.
And one long glorious night in a cabin tucked in the woods
where our crooning and whooping started the coyotes

singing. But the best was when we got home, our luggage
cuddled in the vestibule—really just a hallway
but because we were home it seemed like a vestibule—
and we threw off our vestments, which were really
just our clothes but they seemed like garments, like raiment,
like habits because we felt sorely religious, dropping them

one by one on the stairs: white shirts, black bra, blue jeans,
red socks, then stood naked in our own bedroom, our bed
with its drab spread, our pillows that smelled like us:
a little shampoo-y, maybe a little like myrrh, the gooseberry
candle we light sometimes when we’re in the mood for mood,
our own music and books and cap off the toothpaste and cat

on the window seat. Our window looks over a parking lot—
a dental group—and at night we can hear the cars whisper
past the 24-hour Albertson’s where the homeless couple
buys their bag of wine before they walk across the street
to sit on the dentist’s bench under a tree and swap it
and guzzle it and argue loudly until we all fall asleep.

Complement with Laux’s “Antilamentation,” which rings with double poignancy in the above context.

This recording comes courtesy of the superb PennSound archive, which has previously given us such gems as Allen Ginsberg’s rendition of William Blake’s Songs of Innocence, Adrienne Rich on creative process, love, loss, and happiness, Gertrude Stein’s reading of “A Valentine to Sherwood Anderson,” Yeats on modern poetry, and Charles Olson’s reading of “Maximus, to Himself.”

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