It Isn't So Unusual For

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?

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.

In The Nineteenth Century, Which Was A Dark And Inflationary Age In Typography, Man Compositors Were Encouraged To Stuff Extra Space Between Sentences. Generations Of Twentieth-century Typists Were Then Taught To Do The Same, By Hitting The Spacebar Twice After Every Period. Your Typing As Well As Your Typesetting Will Benefit From Unlearning This Quaint Victorian Habit.

In The Native Literatures Of North America There Aren't Any Novels. Instead, The Major Genre Is Myth. And Myths Are Stories That Are Fundamentally About The World, Not About Human Individuals. A Myth Needn't Include Any Humans At All. If It Does Include Them, They're Usually Minor Characters - Imaginary Humans Sent Out Like Scouts To Report Back On What's Happening In The Mythworld, But Not Central Participants In The Action.

In A World Rife With Unsolicited Messages, Typography Must Often Draw Attention To Itself Before It Will Be Read. Yet In Order To Be Read, It Must Relinquish The Attention It Has Drawn. Typography With Anything To Say Therefore Aspires To A Kind Of Statuesque Transparency. It's Other Traditional Goal Is Durability: Not Immunity To Change, But A Clear Superiority To Fashion. Typography At Its Best Is A Visual Form Of Language Linking Timelessness And Time.