
Tropic of Capricorn
Miller’s autobiographical attack on wage work, hierarchy, and the machinery of American business.
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by Henry Miller
A Pound-prompted comic anatomy of money: part mock economics, part cultural history, and wholly suspicious of the value people agree to worship.
Money and How It Gets That Way is Henry Miller’s satirical pseudo-treatise on currency, value, credit, and the habits of mind that make money seem natural. Ezra Pound prompted the work by sending Miller a postcard asking whether he ever thought about money. Miller answered with a deliberately unruly survey of its legends, forms, and social uses, dedicated the result to Pound, and published it in Paris in 1938 as the first Booster Broadside. It is economic criticism performed as a burlesque rather than a practical guide.
Miller treats money as a collective fiction with very real consequences. The essay jumps between history, anecdote, etymology, coins, paper, credit, labor, and consumption, refusing the calm abstractions of an economics textbook. Its comedy comes from taking familiar financial rituals seriously enough to make them strange again.
The Harry Ransom Center records a fifty-page carbon typescript dated 1 November 1936 and dedicated to Ezra Pound. The finished book appeared in Paris in September 1938 from Booster Publications: a sixty-four-page broadside edition generally described as approximately 495 copies. The small press object and the extravagant argument belong together—an essay about exchange issued far outside commercial publishing’s center.
Ezra Pound asked Miller whether he had thought about money and how it acquired its power. Miller responded with a comic essay that adopts the manner of a learned explanation. The surviving typescript is dated 1 November 1936; the first Paris edition appeared in 1938.
The connection with Pound explains the occasion and the dedication. It does not make Miller’s essay a statement of agreement with all Pound’s economic or political beliefs. The humor needs to be read as Miller’s response to the question.
The essay makes fun of a style of reasoning that seems to explain a subject while repeatedly circling back to its starting point. A passage on money’s existence, for example, turns an obvious proposition into elaborate argument. The authority of the explanation becomes part of the joke.
This matters because a literal reading can misidentify the book’s purpose. Miller is not presenting a workable monetary system. He uses the language of expertise to expose how confidently people talk about something they pursue, depend on, and often understand poorly.
In Miller’s autobiographical books, money usually appears as a concrete problem: paying rent, finding food, taking a job, or relying on a friend. This essay shifts from those situations to the language used to explain money itself.
Read beside Tropic of Capricorn, the difference is useful. The novel gives employment and economic dependence a lived setting. The essay performs its argument through comic explanation. One should not be mistaken for a factual commentary that settles the meaning of the other.
Booster Publications issued the sixty-four-page first edition in Paris in a small print run. Later American publication brought the essay into Miller’s network of independent presses. UCLA preserves proofs and correspondence concerning a subsequent edition.
Readers do not need a rare first edition to encounter the essay. It also appears in Stand Still Like the Hummingbird. That collection places its financial comedy beside Miller’s writing on art, censorship, and other authors, making its relationship to his broader concerns easier to follow.
Miller turns the everyday authority of money back into an odd human invention.
A postcard question from Ezra Pound becomes a full comic treatise—and a revealing exchange between two polemical writers.

The dedicatee and instigator: Pound’s postcard asking Miller whether he thought about money prompted the essay.
1936
Miller dates the surviving typescript 1 November and dedicates it to Ezra Pound.
1938
Booster Publications issues the essay in Paris as the first Booster Broadside.

Miller’s autobiographical attack on wage work, hierarchy, and the machinery of American business.
Read our take
The later map of the writers and ideas that fed Miller’s own intellectual practice.
Read our take
A companion polemic about the economic compromises imposed on artists.
Read our takeA short satirical essay about currency, value, labor, credit, and the social beliefs that give money its authority.
Pound prompted the project with a postcard asking Miller whether he ever thought about money.
Booster Publications issued it in Paris in September 1938 as a sixty-four-page broadside.
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