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The Moneychangers (Literary Classics) Paperback – April 1, 2001
Purchase options and add-ons
- Print length204 pages
- LanguageEnglish
- PublisherPrometheus
- Publication dateApril 1, 2001
- Dimensions5.5 x 0.5 x 8.5 inches
- ISBN-101573929018
- ISBN-13978-1573929011
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About the Author
His interest in social and industrial reform underlies most of his over eighty books, including the topical and polemical novels The Moneychangers (1908), King Coal (1917), Oil! (1927), and Boston (1928); a cycle of eleven historical novels about a contemporary American, Lanny Budd; and many political and social studies such as The Profits of Religion (1918) and The Goose-Step (1923). Sinclair won the 1942 Pulitzer Prize for Dragon's Teeth, the third novel in the Lanny Budd series.
For many years he was active in California politics. In 1934 he received the Democratic nomination for governor of California, running on the Socialist reform platform EPIC (End Poverty In California). He founded the American Civil Liberties Union in California.
Product details
- Publisher : Prometheus (April 1, 2001)
- Language : English
- Paperback : 204 pages
- ISBN-10 : 1573929018
- ISBN-13 : 978-1573929011
- Item Weight : 8.5 ounces
- Dimensions : 5.5 x 0.5 x 8.5 inches
- Best Sellers Rank: #11,349,924 in Books (See Top 100 in Books)
- #345,395 in American Literature (Books)
- #349,935 in Historical Fiction (Books)
- Customer Reviews:
About the author

Upton Beall Sinclair, Jr. (September 20, 1878 – November 25, 1968) was an American author who wrote nearly 100 books and other works across a number of genres. Sinclair's work was well-known and popular in the first half of the twentieth century, and he won the Pulitzer Prize for Fiction in 1943.
In 1906, Sinclair acquired particular fame for his classic muckraking novel, The Jungle, which exposed conditions in the U.S. meat packing industry, causing a public uproar that contributed in part to the passage a few months later of the 1906 Pure Food and Drug Act and the Meat Inspection Act. In 1919, he published The Brass Check, a muckraking exposé of American journalism that publicized the issue of yellow journalism and the limitations of the “free press” in the United States. Four years after publication of The Brass Check, the first code of ethics for journalists was created. Time magazine called him "a man with every gift except humor and silence." He is remembered for writing the famous line: "It is difficult to get a man to understand something, when his salary depends upon him not understanding it."
Bio from Wikipedia, the free encyclopedia.
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So what about the book? Well, it's a really good book. The prose is really quite precise and assured, with some excellent phrases turned here and there. It flows rapidly from plot point to plot point, and even when it descends into lengthy descriptions of the ornate surroundings and opulent Newport mansions it never becomes boring. Contrary to what Chris Bachelder's hilarious "U.S.!" would indicate, Sinclair's writing was not consistently wooden, but generally lively and erudite. And the lack of style and plot-arc that plagued the last third of The Jungle is nowhere to be found.
What is most striking is how much in the way of financial strategy Sinclair works into the novel, and how the shell game of overleveraged assets played in 1907 was nearly identical to the shell game of overleveraged assets played in 2008. Sinclair is highly literate about economics, largely because of his strenuous immersion into Socialism, and he brings to life the complicated and inscrutable economic power plays (read: frauds) that are invisible to the public and most investors. Montague is a good "center mass" for the story because he has a conscience, but nonetheless must peel away the fact-onion underlying the economic tragedy at the same pace as the reader.
I don't want to give away too much of the story, but know that it is generally tragic and dour, but there are far more moments of lively characterization and humor than in The Jungle or The Overman, and the book is written in a more mature style than King Coal. In fact, it's my favorite Public Domain (pre-1923) Sinclair novel thus far (and I've now read seven), and probably one of my favorite books, period.
Highly recommended.
The story then makes a segue from chivalry into business. From their days back home in the South, Montague and Lucy are both stockholders in the Northern Mississippi Railroad. Lucy wants to sell her stock, and she asks Montague to act as her financial representative. Though this railroad is a small business, it has the potential to become a lot bigger through a deal with The Mississippi Steel Company. As New York’s wealthy financiers get wind of this, they show an interest in Lucy’s stock and start sniffing into her and Montague’s business. The more he deals with these interested parties, the more Montague learns about the underhanded deals going down in the world of New York finance, and how a handful of wealthy and powerful oligarchs manipulate the market, the courts, and the legislature to their advantage.
Compared to other writers of the muckraker era like Frank Norris and Theodore Dreiser, Sinclair always had his own unique style that was more propagandistic and preachy than his contemporaries. He was never afraid to push his political agenda, no matter how blatantly, even at the expense of plot and characterization. (That’s not a criticism, just an observation; I actually admire him for it.) Here in The Moneychangers, however, Sinclair definitely makes an attempt to craft a satisfying melodrama. Stylistically, the book greatly resembles Dreiser’s novels The Financier and The Titan. Sinclair nevertheless still manages to get his digs into the capitalist class, but not so dogmatically as he does in books like The Jungle, 100%, or The Millennium. This may be because none of the book’s characters are members of the lower, working, or even the middle classes. The story is told entirely through the perspective of lawyers, bankers, and well-to-do businessmen. Having covered the proletariat with due diligence elsewhere in his body of work, perhaps here Sinclair was aiming to educate middle-class readers through subtler persuasive tactics.
The Moneychangers isn’t very compelling at first, but it improves considerably as it goes along. The first half is rather slow, and the whole storyline about Lucy and her reputation feels a bit unnecessary to a novel that’s ultimately about finance and greed. The second half of the book, however, is really quite good. The instances of financial, commercial, and political corruption start out small but then gradually snowball into an avalanche. One particularly clever scene of journalistic espionage turns the book into a thriller worthy of a 21st-century film adaptation. Though Sinclair develops his case gradually without resorting to diatribes, by the end of the novel he has presented an ample laundry list of evils perpetrated by the oligarchs of American finance. The Moneychangers proves once again that even Sinclair’s lesser known works are often of high literary merit and loaded with valuable perspective on American history.







