Poem Analysis - Velocity Of Money

Ginsberg's Ironic Delight in Capitalist Excess

Allen Ginsberg's "Velocity Of Money" is a chaotic and sardonic rant against the excesses of capitalism in the late 20th century. The poem adopts a tone of unsettling delight, as the speaker ironically embraces the destructive forces of unchecked financial greed. This delight is not genuine; it's a mask for the speaker's despair and outrage. The mood oscillates between manic energy and a weary resignation, culminating in the acceptance of economic collapse.

Historical Context: Reaganomics and the Disillusioned Left

Ginsberg wrote this poem in a period marked by the rise of Reaganomics in the United States. This economic policy, characterized by deregulation, tax cuts, and increased military spending, led to significant economic changes, including inflation, a widening gap between rich and poor, and a growing national debt. Ginsberg, a prominent figure in the Beat Generation and a long-time critic of American capitalism, saw these developments as a betrayal of the values he held dear. The poem reflects the disillusionment felt by many on the left as they witnessed the ascendance of a more conservative and materialistic culture.

The Corrosive Power of Money

One of the main themes in the poem is the corrosive power of money. Ginsberg presents money not as a tool for progress, but as a destructive force that erodes traditional values and fuels moral decay. This is evident in lines like "buy and sell your grandmother, eat up old age homes, / Peddle babies on the street," where the relentless pursuit of profit reduces human relationships and even life itself to mere commodities. The poem suggests that the "velocity of money" – its rapid and uncontrolled movement – accelerates this process of dehumanization. The phrase "usury makes the walls thinner, books thicker & dumber" further elaborates that the pursuit of money (usury) literally breaks down culture making books less useful.

The Death of Ideals

The poem also explores the death of ideals. The speaker's dismissal of historical figures like George Washington, Tom Paine, and Walt Whitman ("George Washington wasn’t good enough! Tom Paine pain in the neck, Whitman what a jerk!") signifies a rejection of the values they represented: civic virtue, revolutionary fervor, and democratic vision. In their place, Ginsberg presents a society obsessed with consumerism and material gain ("Why not have Star Wars? Why have the same old America?!?") The references to drug use ("You can shoot heroin, I can sniff cocaine") and political conflicts ("macho men can fite on the Nicaraguan border") illustrate the moral bankruptcy of this new order, where individuals seek escape or profit in the face of societal decay.

Fragmented Ravings and the Voice of Prophecy

A key image in the poem is the speaker's own "fragmented ravings." Ginsberg positions himself as a modern-day prophet, crying out against the prevailing madness. He recognizes that in a society that no longer values intellectual pursuits ("Nobody reads Dostoyevsky books"), his voice is likely to be ignored or dismissed. However, he persists in his condemnation, hoping that his "fragmented ravings" might, nevertheless, penetrate the collective consciousness. The fact that the speaker acknowledges his own words as ravings points to a sense of powerlessness in the face of overwhelming forces.

Apathy and Acceptance of Collapse

The ending of the poem suggests a weary acceptance of the impending economic collapse. The speaker declares, "Nothing’s happening but the collapse of the Economy / so I can go back to sleep till the landlord wins his eviction suit in court." This final line conveys a sense of resignation and apathy. Despite his earlier manic energy, the speaker ultimately feels powerless to stop the forces he describes. The image of going back to sleep suggests a retreat from reality, a surrender to the inevitable consequences of unchecked greed and societal decay. Ginsberg implies that true awakening will only come with total collapse.