• Skip to primary navigation
  • Skip to main content

Newcity Lit

Books, poetry, comics and the literary world of Chicago

  • Newcity Lit ·
    • About
    • Advertise
    • Contributors
    • Privacy Policy
    • Newcity Network
  • Sections ·
    • Newcity
    • Art
    • Design
    • Film
    • Music
    • Resto
    • Stage
    • Brazil
  • Newsletters
  • Subscribe
  • Log In
Newcity Lit logo

Nonfiction Review: “The End of Money” by David Wolman

by Ella Christoph | March 13, 2012

by Ella Christoph
March 13, 2012March 9, 2012Filed under:
  • Book Reviews
  • Nonfiction

Although the United States is hurtling toward a time when paperless transactions will replace most cash transfers anyway, that change cannot occur fast enough for David Wolman, author of “The End of Money: Counterfeiters, Preachers, Techies, Dreamers—and the Coming Cashless Society.”

In a provocative online essay for “Wired” (he is a contributing editor), he asserted, “In an era when books, movies, music, and newsprint are transmuting from atoms to bits, money remains irritatingly analog. Physical currency is a bulky, germ-smeared, carbon-intensive, expensive medium of exchange. Let’s dump it.”

Both the Federal Reserve and private banking systems take a piece of the currency action and the United States Treasury spends increasing effort and large sums of money to counteract increasingly sophisticated counterfeiting that threatens to undermine confidence in the United States dollar. (Wolman describes the “supernotes” North Korea produces in its own effort to battle the United States.)

In preparation for this book, Wolman attempted to go “cashless” for an entire year. And while he insists that it is largely the poor who suffer from dependence on cash, he still most clearly demonstrates that it is “wireless,” conspicuous consumers such as him who will benefit most as our commerce approaches cashlessness.

For even as technology finds a way for everyone who uses a cell phone to make payments and deposits electronically, for small fees, to online accounts (as Wolman reports is occurring in Kenya and India, for example), in the United States the Federal Reserve will still find a way to control the loan rate of interest. And that perennially low loan rate of interest is what likewise keeps the interest rate down on savings accounts, a key obstacle to the poor and working poor accumulating sufficient money to improve themselves financially.

It seems inconceivable to Wolman that citizens who prefer cash in their daily lives—whether they have bank accounts or not—aren’t up to something, like avoiding taxes, for which all the rest of us pay. It does not occur to him that for some folks who think of themselves as deliberative humans and even citizens before “consumers,” cash might be simpler, even virtuous. (And if you’re a Wendell Berry, say, barter might be even closer to godliness.)

Plus, as Wolman keeps reminding us, cash is germ-laden. Ewww!

This work has significant merits in its explorations of not just currency and its future (or lack thereof), all around the world, but in its plumbing of governments’ monetary policies and in accessible explanations of “money” versus cash versus currency. Wolman also has interviewed numerous individuals whose largely unconventional opinions stir the pot of cash versus cashlessness in a diverting way. (One Georgia man sees the death of currency as a favorable portent of the coming Apocalypse.)

This sometimes devil’s-advocate quality of “The End of Money” is most attractive, although one may wonder if the author had also dedicated a year to going without plastic might have yielded other, more interesting results—something more like truth and less simply a techie’s screed.

That said, the author’s disparate, frequently informative threads fail to knit themselves into a cohesive fabric that is of much use from a public-policy standpoint. (A wrap-up chapter would have been most beneficial.) Further, the author’s glib style, while engaging and most congenial to the blogosphere, makes him too easy to dismiss when he takes occasional stabs at philosophizing.

Grammatically, an irritating, repetitive lapse is his use of the plural possessive “peoples’” when the plural possessive of person — “people’s” — is meant. Also, here throughout, “under way” instead of “underway” is the correct usage, although that is a memo that most American publications who are not the New York Times seem not to have received. Where are those old-school copy editors when we need them? (Martin Northway)

“The End of Money: Counterfeiters, Preachers, Techies, Dreamers—and the Coming Cashless Society”
By David Wolman
Da Capo Press, 228 pages, $25

Tagged:
  • David Wolman

Post navigation

Previous Post Nonfiction Review: “Chicken” by Annie Potts
Next Post Non-Fiction Review: “Soup and Bread Cookbook” by Martha Bayne
Book cover for Memorial de Ayres by Machado de Assis. Features a palm tree, a donkey, and gravestones, with the title and authors name in bold pastel letters on a dark blue background.

Chat Are We Cooked? Reading Machado de Assis in the Twilight of Literacy A wish for the faith that books and words, what makes us human, will remain.

Annette LePique August 27, 2026
Book cover for Those Who Vanish by Patricia Grace King. The background features vibrant orange and yellow leaves, with white title text overlaying an illustration of skeletons and a gold award seal.

Patricia Grace King on Fiction, Memory and the Long Aftermath of War King’s exceptional debut story collection, “Those Who Vanish,” inhabits the borderlands between history and memory, personal losses and political violence.

Christine Sneed August 24, 2026
Colorful cover for Never Whistle at Night Part II: Back for Blood, featuring illustrated skulls, animals, plants, and items like beads and a cross, with bold red and white text and a dark background.

Indigenous Horror Is Back for More "Back for Blood: Never Whistle at Night Part II" is a compelling sequel to the acclaimed Indigenous anthology edited by Shane Hawk and Theodore C. Van Alst Jr.

Emily McClanathan August 20, 2026
Book cover for The Breakup by Kurt Andersen, featuring a yellow cover split down the middle, set against a painted cityscape and a curving road.

Kurt Andersen’s “The Breakup” Explores a Mutual Split, Both Personal and Political A family travels across the former United States after “disunion” has occurred in this not-so-distant future.

Kelly Roark August 17, 2026

Newcity cover showing woman with red hair and bird-face, with nest and crow on top of head.

September Issue
Fall Arts + Art 50

GET A COPY

SUBSCRIBE

NewcityLogo.png
Facebook Twitter Instagram
  • About
  • Privacy Policy
  • Advertise
  • Subscribe
  • Newsletters
  • Chicago Film Project

Copyright Newcity Communications, Inc. © 2026