Nature, or the world, or reality, is what mythology is all about.

Typography exists to honor content.

Many intellectual heroes in the European tradition seem to find the great outdoors a chilling prospect - and its literary analogue, the mythworld, equally chilling. As if a world in which humans have no leverage, and might not be present at all, couldn't be interesting to humans.

Typography at its best is a visual form of language linking timelessness and time.

It isn't so unusual for poems to situate themselves out of doors - though they may, at the same time, be set in an interior world: not inside the house but inside the mind and body of writer and reader.

Space in typography is like time in music. It is infinitely divisible, but a few proportional intervals can be much more useful than a limitless choice of arbitrary quantities.

The claim that myth is always a narrative spin-off of ritual; the claim that myth is the projection of human anxieties onto a cosmological scrim; the claim that myths are invented to give sanction to human predilections and institutions... These are ways of trivializing a mode of thought that has served humanity well for a very long time.