“ Bojo himself had not woven his way three blocks before he felt this imperative need of a stimulating dream, a career to emulate—a master of industry or a master of men—and, sublimely confident, he imagined that some day, not too distant, he would take his place in the luxurious flight of automobiles, a personage, a future Morgan or a future Roosevelt, to be instantly recognized, to hear his name on a thousand lips, never doubting that life was only a greater game than the games he had played, ruled by the same spirit of fair play with the ultimate prize to the best man. ”
Owen Johnson
Summary
Owen Johnson’s Making Money (1912) is a novel examining the turbulent intersection of ambition, finance, and personal relationships in early 20th-century America. Focused on Bojo, a young man maneuvering through the ruthless environment of Wall Street, the narrative interlaces themes of opportunity, financial crisis, and the ethical trade-offs of capitalism.
Key figures such as Doris, Drake, and Fred represent opposing values of love, achievement, and honesty, while the Atlantic Trust and market forces highlight the story’s conflict between personal goals and institutional pressures. Johnson’s depiction of Bojo’s ascent—and the price of his decisions—offers a sharp critique of economic influence and human longing.
Quotes from Making Money (Owen Johnson)
“ I love to be admired, I love pretty things and society and all that. Why shouldn't I? But I do care for you, Bojo; you've always brought out—" she was going to say, "the best in me," but changed her mind and instead added: "I am very proud of you— I always would be. Don't look at me like that. What have I done?""Nothing," he said, drawing a breath. "You can't help being what you are. Really, Doris, in the whole room you're the loveliest here. No one has your style or a smile as bewitching as yours. There is a fascination about you." ”
“ Doris, I know you too well—what you've lived with and what you must have." He added, with a doubting smile: "You remember what you said to me that day on our ride, when we passed through that factory village—'ask me anything but to be poor.'""Bojo," she said, desperately, "you don't understand what a woman is. That was true—then. There's all that you say in me, but there's something else which you've never called out before, which can come when I love, when I really love." She clung to him, fighting for him, feeling how close she had been to losing him. ”
