This study examines the historical evolution of money in Hausa Society. It explores the transition from the traditional barter system to the use of modern currency, highlighting how money has transformed trade, agriculture, livestock rearing, crafts, and other economic activities among the Hausa people. The study also investigates the first money used in Hausa society. Using a qualitative research approach, data were obtained from books, journal articles, historical records, and other relevant documentary sources. The findings indicate that money plays a central role in promoting economic growth, improving living standards, and facilitating commercial activities within Hausa society. However, the study identifies the impact of globalization on traditional economic practices. The research concludes that strengthening financial education, encouraging entrepreneurship, and promoting ethical financial management in line with cultural values are essential for sustainable economic development in the Hausa society.

This article examines Ling Ma’s short story “G” from Bliss Montage by focusing on invisibility as a literary device through which female bodily freedom, friendship, and self-erasure are simultaneously imagined. In the story, G is a drug that makes its users invisible. At first, invisibility appears as a fantasy of bodily release: the narrator feels light, unburdened, and temporarily free from the visual discipline attached to femininity. Yet the story gradually complicates this fantasy. The ritual of taking G requires the removal of makeup, clothing, and personal objects, revealing how the female body is normally organized through visibility, surfaces, and social evaluation. As the narrator and Bonnie move through restaurants, streets, stores, and Central Park, invisibility allows them to disturb consumer spaces and ordinary social order, but it also produces anxiety about disconnection and disappearance. Their need to hold hands shows that the invisible body still requires relational anchoring. The final movement from “gravity” to “ghost” transforms G from a tool of escape into a sign of self-erasure. Through close reading informed by feminist theories of the body and visibility, this article argues that “G” presents invisibility as an ambivalent condition: it grants a temporary freedom from being seen, but also exposes the risk of becoming socially, physically, and affectively ungraspable.