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

Essay on Adam" There are five possibilities. One: Adam fell. Two: he was pushed. Three: he jumped. Four: he only looked over the edge, and one look silenced him. Five: nothing worth mentioning happened to Adam. The first, that he fell, is too simple. The fourth, fear, we have tried and found useless. The fifth, nothing happened, is dull. The choice is between: he jumped or was pushed. And the difference between these is only an issue of whether the demons work from the inside out or from the outside in: the one theological question.

With type as with philosophy, music and food, it is better to have a little of the best than to be swamped with the derivative, the careless, the routine.

Literature in the written sense represents the triumph of language over writing: the subversion of writing for purposes that have little or nothing to do with social and economic control.

By all means break the rules.

We're into the era of desktop bureaucracy, where people sit at computers building websites and analyzing data rather than listening or reading.

Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence. Its heartwood is calligraphy - the dance, on a tiny stage, of the living, speaking hand - and its roots reach into living soil, though its branches may be hung each year with new machines. So long as the root lives, typography remains a source of true delight, true knowledge, true surprise.