This essay analyzes the Kelmscott editions of William Morris's late prose romances in reference to late-nineteenth-century typographical discourses. It identifies on the surface of the Kelmscott works a previously undisclosed record of print craftsman-ship: a coordinated effort by Morris and his print workers to prevent textually encoded forms of distraction from accruing on the printed page. In so doing, it engages with past scholarship that has traced the politics of the Kelmscott book to its utopian methods of print production or to its idealized, textually implicit modes of aesthetic perception. Offering a new way of appreciating this politics, it considers the books' coordinated efforts to eliminate distractions as an organized resistance to the misguided techno- progressive logic informing modern print practices.