Woman as Financial Vampire
I’m currently reading (and considerably enjoying) Edith Wharton’s Custom Of The Country. But I am also disquieted by the novel. At its core, the story of this novel is a very familiar one. It’s about an ambitious woman who sucks dry a somewhat dreamy man with her incessant financial demands.
The cunning woman who only longs for fine society and fine objects and uses her beauty as a tool with which to entrap men into providing for her desires is an incredibly familiar figure in literature. She is so familiar, in fact, that I kept having these strange echoes while I read the book. I’d have a brief impression, and then I wouldn’t be able to rest until I remembered the other book that I was being reminded of.
I haven’t tracked down all the impressions of what I call “woman as financial vampire”, but I can name a few. There’s Emile Zola’s Nana, about a French prostitute who destroys the fortunes of her admirers. There’s Gustave Flaubert’s Madame Bovary, whose eponymous heroine eventually gets her husband deep into debt after issuing numerous notes and trying all kinds of financial manipulations with the village moneylender. There’s Theodore Dreiser’s Sister Carrie: the main character has a paramour who engages in embezzlement to meet her monetary demands. There’s Becky Sharp, from William Makepeace Thackeray’s Vanity Fair, who bankrupts her creditors (and ruins her admittedly horribly husband) by knowingly borrowing huge sums and then running away from her debts. There’s Scarlett O’Hara in Gone With The Wind: who screws over her second husband in various business deals. There’s Grushenka in Dostoyevsky’s Brother’s Karamozov, who causes the central conflict of the novel by creating a large need for money in the oldest brother, Dmitri. There’s Polina in Dostoyevsky’s The Gambler, whose mysterious need for money causes the hero to take up gambling.
Perhaps the most nuanced and complex use of this female trope comes (rather surprisingly) from Charles Dickens. David Copperfield’s first wife, Dora Spenlow, shares many traits with the financial vampires described above: she’s spoiled, petulant, short-sighted, and used to being supported by wealthy men. And when she married David Copperfield, one is almost sure that she is immediately going to drive him to ruin. But she doesn’t. Their marriage is not precisely happy, but she does not destroy him. In the end, it seems like he genuinely loves her and she genuinely loves him.
Most of the examples I cited above are from a particular time period, and, indeed, I think it’s difficult to find more recent examples of the woman as financial vampire. An example from the fifties is Millie, from Graham Greene’s Our Man In Havana, whose financial demands cause her father to enter into the spying business. Another that springs to mind is Jorah Mormont in A Song Of Ice And Fire, who becomes a slaver and a mercenary in order to satisfy his wife Lynesse’s need for jewels and finery and parties.
There must be many more examples of this trope, but its frequent occurrence in my own reading is enough to satisfy me that it is definitely “a thing”.
But it does puzzle me. The occurrence and reoccurrence of the fantastically spendthrift woman in literature seems to suggest that she is being used to work out some sort of deep cultural anxiety. In many cases, her financial needs are coupled with a sexual unfaithfulness, which seems to suggest that they’re both part of some kind of fear of emasculation or loss of control.
But it’s the financial aspect that has always been more startling to me than the sexual aspect. After all, a woman can’t be spendthrift without her husband’s consent. In most of the above relationships, the man has to sign for each and every purchase. He is fully capable, at any time, of cutting the purse strings, but he is so ensnared by her charm that he is unable to.
It’s a strange sort of anxiety and I question how often women like this actually existed. She’s more like a monster than she is like a real person. She has an unholy power to glamor a man. And she has an unquenchable appetite for jewels, hotel rooms, meals, carriages, and dresses.
In some cases (as in Our Man In Havana) the financial vampire is just a plot device. She’s a way to provide the hero with a huge need for money without also making him seem greedy or repellent. But many of these novels are explicitly devoted to the psychology or origins of these women. It’s quite fantastic that so much ink has been spilled about the inner workings creature that can’t have been very common.
But it doesn’t matter that the financial vampire probably didn’t exist too often: what matters is that she ought to exist. Most of these novels conclude that mankind deserves the financial vampire. Halfway through Custom of the Country, a character rather explicitly says that America gives rise to these financial vampires because it infantilizes women and doesn’t allow them to have real pursuits: the reason they have no real concept of money is because they are not allowed to work, and the reason they ruin men is because they are taught that their virtue is measured in what they can extract from males using their beauty and charm.
Personally, though, I am not convinced by these pseudo-feminist morals. Despite the gloss that these novels put on what they’re doing, they are still trafficking in very charged, very sexist imagery, and I think that part of their emotional appeal, as literature, is due to the horror that these women arouse in men. If I created a movie where a mob of blacks rioted and raped a bunch of white women, I think I would still be playing to the racist anxieties of my audience even if I ended the movie by saying “They were driven to this by your racism!”