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.

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

Everyone complains that we can no longer intake huge chunks of text. I find that a reason to celebrate. It's something that has deep roots in modernism, stretching from the Futurists' use of typography to Pound's use of ideograms to concrete poetry.

I've been trolled lots on Twitter. But I understand trolls for what they are and I don't let them get to me. They take my bait, so I'm in charge of the discourse.

Short attention span is the new avant-garde. Everyone complains that we can no longer intake huge chunks of text. I find that a reason to celebrate. It's something that has deep roots in modernism, stretching from the Futurists' use of typography to Pound's use of ideograms to concrete poetry. David Markson feels particularly relevant now. Twitter is the revenge of modernism.

It's hard to be understood when addressing many people at once. How can you ever know if you're being understood? So, I've just started being intelligently provocative. And people take the bait.

New York City is just one node on the global cultural scene now. Social media reflects the state of the world, so I've become more devoted to that. To be a NYC artist today feels local and small. Social media feels now.