How much money you get, depends on lots of extraneous things. It depends on how good you are at turning poetry into a marketable product, which is something it was never supposed to be. That's why many people suppose that the better the poet you are the lower your income should be, and that's probably true.

To design things means to interfere with things: to think of how they might be and to alter how they are. Design is to making as writing is to speech: it is an ordinary physical activity pushed to a conscious edge. That interference with the given world can still be founded on admiration. Where it is not, what is the point of designing at all?

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.

By all means break the rules.

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.

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.

When you think intensely and beautifully, something happens. That something is called poetry. If you think that way and speak at the same time, poetry gets in your mouth. If people hear you, it gets in their ears. If you think that way and write at the same time, then poetry gets written. But poetry exists in any case. The question is only: are you going to take part, and if so, how?