Written by Adam Bond

As it pro­ceeds — by fits and false starts — toward some­thing resem­bling matu­ri­ty, Mid­dling aspires to no greater pur­pose than to dis­tract, irri­tate, or mild­ly per­plex. With­in its hap­haz­ard pages may be found an ill-sort­ed jum­ble of per­son­al con­fes­sions, lit­er­ary dis­mem­ber­ments, bas­tard nar­ra­tives, mis­be­got­ten verse, socio­cul­tur­al kvetch­ings, idle illus­tra­tions, the occa­sion­al com­ic intend­ed to be fun­ny but rarely suc­ceed­ing, and what­ev­er else the author regrets by pub­li­ca­tion. It is an unfenced pas­ture for all man­ner of curiosi­ties, indul­gences, and half-formed thoughts — how­ev­er obscure, inel­e­gant, unedit­ed, or… “pecu­liar.” It does not apol­o­gize. It bare­ly explains.

It is unlike­ly that you shall be improved by read­ing it — moral­ly, intel­lec­tu­al­ly, or oth­er­wise — but with any luck you will be briefly amused, faint­ly offend­ed, or inspired to write some­thing bet­ter out of sheer dis­gust. The author, for his part, promis­es only this: he has writ­ten exact­ly what he meant, and not a word more care­ful­ly than was absolute­ly necessary.

Colored with lampblack and vermillion

PANTONE® 1788 C

#f44647

Apart from the stark black and white of the vir­tu­al page, Mid­dling — like Bond & Sons and many of its affil­i­ate projects — is adul­ter­at­ed with the accent col­or PANTONE® 1788 C.

Typeset with traditioned innovation

Em­ployed through­out are Ar­gen­tin­ian type­foundry Huer­ta Tipográfica’s Ale­greya serif and sans-serif type­faces. Ale­greya uses hu­man­ist pro­por­tions and prin­ci­ples, a non-lit­er­al in­ter­pre­ta­tion of cal­li­graphic let­ter­forms in­ter­po­lated with a play­ful di­ver­sity of shapes that evokes both grav­ity and whim­sy. As with the au­thor, the type­face sug­gests a blithe, al­most imp­ish mod­ern en­gage­ment with tra­di­tion and con­ven­tion. (An ex­cel­lent re­view of the ser­ifed type­face was writ­ten by Carl Cross­grove on March 13, 2013 for Ty­po­graph­ica.)

Ale­greya Sans Bold

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g h i j k l m n o p q r s t u v w x y z

! ? & § ¶ # † ‡ @ * ⁂ fi fl fj ff ffl fb fh

Ale­greya Serif

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g h i j k l m n o p q r s t u v w x y z

! ? & § ¶ # † ‡ @ * ⁂ fi fl fj ff ffl fb fh

Made on a Mac

If one is tru­ly hon­est, even the most vir­u­lent and pedan­tic ad­vo­ca­tus an­droidus or mi­crosoft­mon­ger must ad­mit that Ap­ple prod­ucts are sen­su­ous enough to al­most tit­il­late and in­duce a fetishis­tic ob­jek­tophilie. Even Bill Gates ad­mit­ted he wished he had had Jobs’ ex­quis­ite sense of taste. Ap­ple prod­ucts are de­signed to se­duce and per­haps the vit­ri­olic boor­ish­ness of many of Ap­ple’s op­po­nents is a sur­­vi­val-trig­gered re­sponse to re­sist the siren’s dead­ly song.

They stuff their ears with the bee’s wax of sibi­lat­ing sol­i­dar­ity and bind them­selves to the main­mast of in­sur­rec­tionary bel­liger­ence. For scru­ti­niz­ing Ap­ple’s su­premacy one should ap­plaud them, as all weilders of in­flu­ence should be ex­am­ined with lid­less eyes. The au­thor, how­ever, is a tech­no­cul­tural prag­ma­tist, in­de­pen­dently choos­ing plat­forms that suit his de­sires, tastes, needs, and only shal­lowly — in­so­far as pos­si­ble — his values.

The fact is, they still just work.