I read strangely.

When I read, I work hard at understanding the material, but I do not put much effort into retaining the material.

Rather, I use the effort to understand to repattern my conceptions.

As I read, I look for signs of textual attunement or misattunement. I pay close attention to when I am confused or perplexed, or when I am partially or superficial understanding, which means I am misunderstanding. Alert but easy following — fluent reception (influence?) of words into sentences into ideas — spontaneous, intuitive comprehension — these are all positive indications that I am becoming someone capable of understanding this material.

I also notice changes in my experience of the world. What odd details stand out to me as significant, or curious, or beautiful, or mysterious, or disturbing, or infuriating? And what is the overall tone of life?

Instead of trying to possess the material, I allow the material to transform me.

In this state, I write what I am moved to write. These are my own concepts in my own words, but they are formed and animated by conceptions from others, others who have taken a place in my soul. I am densely possessed.

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I know there are significant tradeoffs to my way of reading. I acquire no expertise. If someone asks me to summarize what I read, or to respond to some particular passage, I am likely to be at a loss. The material is not retained, only the conceptions that give the material meaning. The conceptions continue giving meaning, though, and what is given meaning is lived reality.

What is given this way, I never lose, because it is now part of me, and shows in the givenness of the world.

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When I am in my library, engaged in conversation with friends, they are sometimes confused or amused by my gesturing to various authors whose conceptions I feel animating my thoughts. I know exactly where each of them sits around me on my shelves, and who is helping me be myself at any moment. I am at home.

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Do I live in a wordworld? Most people who know me would think so.

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My Orthodox Christian friends tell me that they do not pray to icons, but rather pray through them.

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Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain.

…Now the man who first chose glass instead of clay or metal to hold his wine was a ‘modernist’ in the sense in which I am going to use that term. That is, the first thing he asked of his particular object was not ‘How should it look?’ but ‘What must it do?’ and to that extent all good typography is modernist.

Wine is so strange and potent a thing that it has been used in the central ritual of religion in one place and time, and attacked by a virago with a hatchet in another. There is only one thing in the world that is capable of stirring and altering men’s minds to the same extent, and that is the coherent expression of thought. That is man’s chief miracle, unique to man. There is no ‘explanation’ whatever of the fact that I can make arbitrary sounds which will lead a total stranger to think my own thought. It is sheer magic that I should be able to hold a one-sided conversation by means of black marks on paper with an unknown person half-way across the world. Talking, broadcasting, writing, and printing are all quite literally forms of thought transference, and it is the ability and eagerness to transfer and receive the contents of the mind that is almost alone responsible for human civilization.

If you agree with this, you will agree with my one main idea, i.e. that the most important thing about printing is that it conveys thought, ideas, images, from one mind to other minds. This statement is what you might call the front door of the science of typography. Within lie hundreds of rooms; but unless you start by assuming that printing is meant to convey specific and coherent ideas, it is very easy to find yourself in the wrong house altogether.

— Beatrice Warde, “The Crystal Goblet, or Printing Should Be Invisible”

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Printing should be invisible.

As should words, sentences, passages.

As should concepts and systems of concepts.

As should truth.

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If we love reality, or aspire to love reality, we will choose truths that reveal reality rather than represent it, explain it, model it, or otherwise eclipse it. Our truths will not be objects of contemplation. Our truths will be subjects who contemplate.

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“When a poet is not in love with reality his muse will consequently not be reality, and she will then bear him hollow-eyed and fragile-limbed children.” — Nietzsche