Abstract
Abstract: Daniel Berkeley Updike (1860–1941) was an American printer whose Merrymount Press began operating in the 1890s out of Boston, aspiring to standards set by William Morris's Kelmscott Press in England. Central to Updike's success was his relationship with the writer Edith Wharton. Updike oversaw typographical design for four of Wharton's earliest works: The Decoration of Houses (1897), The Greater Inclination (1899), Crucial Instances (1901), and Sanctuary (1903). This essay examines the relationship between Updike and Wharton with an eye for American institutional exchange and argues Updike's design schemes helped engineer her reputation as a serious literary figure.
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