One of the most feared inventions ever was the Linotype machine. Debuting in 1886, it was designed to eliminate tens of thousands of newspaper jobs, specifically the hand-compositors—the highly skilled workers who painstakingly picked individual metal letters out of wooden trays to set type. The Linotype instead would cast an entire line of type in molten lead (hence "line-o'-type") on the spot, working six times faster than a compositor and threating to eliminate 85 percent of the workforce (much like today’s fears of AI wiping out any white-collar job that involves a computer screen). Meanwhile in Hartford, Mark Twain was hemorrhaging his life savings into a rival typesetting machine so complex that one patent examiner allegedly went insane reviewing its 850 drawings. Both these stories show the dominance of the media world on America’s first two centuries. They also show that Linotype represents a classic example of productivity-induced market expansion. It didn't reduce the need for workers; it radically altered the economics of publishing. Newspapers grew in size because it was more affordable to print more pages, and total employment skyrocketed.

Today's guest is Alex Wright, author of Empire of Ink: The Printers, Rogues, and Radicals Who Invented the American Newspaper. We discuss how the United States printed itself into existence with founding documents pulled from hand presses, why the Post Office Act of 1792 created a hidden subsidy worth $56 billion in today's dollars that turned the early republic into the most newspaper-saturated society on earth. We also dig the abnormally large body count of dead editors (because airing an important person’s dirty laundry usually lead to a duel), and the race between Twain's doomed Paige Compositor and Ottmar Mergenthaler's Linotype, the machine that Thomas Edison called the eighth wonder of the world and that ended up destroying the freewheeling printshop culture that had defined American journalism for a century but also expanded it into something different.

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