For me, Twitter is a public persona. It's UbuWeb or Kenneth Goldsmith (as opposed to Kenny Goldsmith). I don't interact. It's a lousy form for conversation and opinion (what can you really say in 140 characters?), but a wonderful propaganda and sloganeering tool. I use it as a one-way street.

My books are better thought about than read. They're insanely dull and unreadable.But they're wonderful to talk about and think about, to dip in and out of, to hold, to have on your shelf.

Poets think in short lines. Unless you're Samuel Beckett, Twitter might be more difficult for novelists.

For me, Twitter is a public persona. I don't interact. It's a lousy form for conversation and opinion, but a wonderful propaganda and sloganeering tool. I use it as a one-way street.

I don’t trust painting. At least not in New York. Most painting here relies on formula and repetition, whoring itself to the market. There seems to be no risk and once a painter gets a strategy, very little exploration. As a result, I stopped thinking about painting a long time ago. I prefer forms of art that are more market-resistant, more idea-based, more - for lack of a better word - risky.

I think that the special thing about radio is the off switch. If something's not pleasing you, turn it off.

I wonder if Karl Ove Knausgård would've written the same books today had been using Twitter. It wasn't around when he was writing those books. Those books were written during the age of the blog, with its big verbiage. The landscape has completely changed today.