At any rate, I must protect myself from the recurrence of the wearing and unprofitable discussions about money which have made the chief subject of our talk whenever we have been together lately; and I want to remind you again, before we meet, that this applies not only to talks about the management of my property, but to the question of managing household affairs for me. --Edith Wharton in a letter to Edward Teddy Wharton, May 30, 1911 Written during the course of Wharton's break with her husband, her affair with Morton Fullerton, the sale of her beloved home, the Mount, and growing tension with Scribner's, her long-time publisher, The Custom of the Country (1913) reflects Wharton's own marital, domestic, and financial anxiety.(1) A crisis of managerial control is at the heart of many of these anxieties--how would she manage Teddy, her sexual transgressions, her career, and her growing wealth? Wharton's self-described great American Novel illustrates the consequences of not developing managerial tactics in a rapidly incorporating American culture, a culture that promulgated its message of unity through subordination.(2) Throughout The Custom of the Country, Wharton validates a shift from entrepreneurial to managerial values that reflects her own concerns as well as progressive reformers' demands to regulate a vicissitudinous Wall Street. Attentive to contemporary debates in social science, Wharton creates a dialogics of evolutionary discourse to legitimate this shift.(3) She transforms her novel's central protagonist, Undine Spragg, from an unregulated force into a well-managed employee. That the icon of this unregulated, potentially dangerous energy is Undine Spragg, arguably Wharton's most developed woman protagonist, suggests not merely Wharton's own ambivalence toward sexually and socially transgressive women but her feminization of larger cultural anxieties over unregulated power. In many respects, Undine embodies what Walter Benn Michaels has theorized as the corporate personality at the turn of the century. It was the corporation's ability to act as an intangible person, intangible in its insatiability for wealth and person-like in its power to act, that made it a source of cultural anxiety: To writers like James `Cyclone' Davis and Henry D. Lloyd, it was this combination of personhood and intangibility that conferred upon corporations `unprecendented' powers--above all, the `power to act as persons, as in the comission of crimes, with exemption from punishment as persons.'(4) With her relentless appetite and status as simultaneously person, product, and abstract force, Undine is like a corporation in which she owns all of the capital stock. As a person, she lies and misleads; as an abstract force of nature she seems exempt from punishment. If her seemingly inhuman voraciousness makes her culturally unlocatable--she continually propels herself and others into unfamiliar social and moral terrain--it also makes her theoretically overdetermined. As a entity, Undine is at once consumer of others, producer of herself, and vehicle through which products and commodities are parlayed. Indeed, in her fiction prior to World War I, Wharton represents her new women protagonists foremost as desiring subjects who defy easy categorization. Their social ambitions create a kind of moral indecipherability that frustrates the anthropologist's reading. In Wharton's novella Sanctuary (1903), the antagonist Clemence Vemey is patently of the `new school' because her ambition overrides any commitment to traditional moral precepts; her feverish activities and broad-cast judgments ... made her hard to define.(5) In The Fruit of the Tree (1907), Justine Brent is so free and flexible in all her motions that she seemed akin to the swaying reeds and curving brambles which caught at her as she passed, a flexibility that when extended to the ethical arena suggests a disconcerting ability to reconcile selfless idealism with a conceivably selfish act of euthanasia. …