A hand’s primary function, Elias Canetti writes in Crowds and Power, is as “a claw to grasp whole branches” while climbing; both hands partner in “grasping” and “letting go.” This is like trade, he argues: “one hand tenaciously holds on to the object with which it seeks to tempt the stranger” while the other “is stretched out in demand.” Trading, then, offers “profound and universal pleasure” as “a translation into nonphysical terms of one of the oldest movement patterns.”

For Kid Nation, a reality show that aired in 2007, forty children went to stay in a New Mexico ghost town for forty days. They lived as laborers, cooks, merchants, or an upper class; many worked fourteen-hour days to earn buffalo nickels to spend on root beer. In the final episode, some participants raided the dry goods store. “It’s free,” said one kid, his mouth stuffed with gummy bears. Another raider was heard announcing, “There is a god.”

Herodotus reports that after Cyrus the Great was warned by a Spartan herald not to tread further into Greek lands, the Persian king received a primer on Sparta, including an explanation of an agora, to inform his response. “I have never yet been afraid of any men,” he told the herald, “who have a set place in the middle of their city where they come together to cheat each other.”

In the eighteenth century, a cash-strapped French government began selling rente viagère, in which an investor paid an up-front sum pegged to someone’s life—sometimes the king or the pope—and received returns until death. A group of Genevan bankers diversified their portfolio in the 1770s by buying rente contracts on the lives of thirty wealthy young Genevan girls. The fund gained popularity; by 1789 a significant portion of French debt was owed on the lives of just these “thirty heads.”

Including trademarks in books became crucial after the invention of the printing press; without stringent copyright laws, rival publishers could repurpose superiorly edited texts with impunity. Aldus Manutius of Venice, who employed Erasmus as a proofreader, called attention to his company’s “sign of the dolphin wound round the anchor.” Florentine printers were aping the mark, but in the frauds, “the head of the dolphin is turned to the left, whereas that of ours is well known to be turned to the right.”