Classic and Contemporary Poetry: Explained

"Money," by Sharon Olds, explores the multifaceted nature of money and its pervasive influence in our lives. Through a rich tapestry of imagery and colloquial expressions, the poem delves into the sensory, cultural, and moral dimensions of money, capturing its ambivalence and the complex emotions it evokes.

The poem begins with a litany of slang terms for money: "Filthy lucre, dough, lettuce, / jack, folderola, wherewithal, the ready, / simoleons, fins, tenners." This playful yet slightly mocking tone sets the stage for a deeper exploration of the subject. The diversity of terms reflects the ubiquity of money and the various ways it is perceived and talked about in society.

Olds vividly describes the physical sensations and associations tied to money. She notes its "sour" smell, "like ink," and its "salty-dirty" feel, akin to "strangers’ thumbs." These sensory details emphasize the tactile reality of money and hint at its often grimy, transactional nature, tainted by countless anonymous exchanges. The metaphor "we touch it like our mutual skin" suggests a shared, almost intimate relationship with money, as something that connects us all, albeit in an impersonal way.

The poem further explores the aesthetic qualities of money, appreciating its design elements: "tattooed with webs—orb and ray—and with / Abe, and laurel leaves, and Doric / pillars, and urns, acanthus, mint scales, / a key." These images evoke the elaborate and symbolic imagery printed on currency, designed to convey stability, tradition, and authority. The "2 × 6 / classic size, which does not change / from generation unto generation" underscores the constancy and familiarity of money's physical form, a standard that persists across time and use.

Olds also reflects on the figures and symbols depicted on money, such as "the 1 the grandmother president / seems to be guarding," which subtly critiques the paradox of governmental protection and surveillance. The speaker alludes to the power dynamics and potential for exploitation inherent in systems that govern money and identity: "as if the government would protect your identity / if they could find it, and they didn’t have to kill / too many of your relatives / to get at it."

The poem touches on the moral implications of money, particularly through the lens of childhood experiences and the idea of earning it: "A dime a week / if you did your jobs and did not act morally / horrible, which meant, for some, a dime / a year." This line reflects the often arbitrary and moralistic judgments tied to earning and deserving money, as well as the inequities in such systems.

In a strikingly dark and candid moment, the speaker imagines a hypothetical scenario: "Now if my mom had paid me, to hit me, / I could have had a payola account, / and been a child whore magnate." This hyperbolic statement critiques the transactional nature of relationships and the corrupting power of money, suggesting that even abuse could be commodified and monetized. It underscores the moral degradation that money can symbolize and facilitate.

The poem concludes with a reflection on the power of money as a "ticket to ride," likening its significance to the "green cry" of a diesel train. This metaphor suggests the freedom and opportunity that money can provide, yet also hints at its impersonal, mechanical nature, reducing human experiences to mere transactions.

"Money" by Sharon Olds is a complex meditation on the omnipresence and influence of money in our lives. Through vivid descriptions and reflective commentary, Olds captures the sensory allure, cultural symbolism, and moral ambiguity of money. The poem critiques the ways money can distort values, commodify relationships, and dictate social dynamics, while also acknowledging its undeniable power and necessity. In exploring these themes, Olds invites readers to consider their own relationships with money and the broader societal structures it supports.

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