I don't think that the world will ever become an unpoliced place, sadly. But I do feel that there is relative freedom on the margins.

All of our media is made of language: our films, our music, our images, and of course our words. How different this is from analog production, where, if you were somehow able to peel back the emulsion from, say, a photograph, you wouldn't find a speck of language lurking below the surface.

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

What I'm doing in writing has been thoroughly and exhaustively explored in other fields like visual art, music, and cinema, yet somehow it's never really been tested on the page.

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.

It's Twitter's combination of simplicity and complexity that is astonishing in the same way that minimalist sculpture was inspiring and enlightening.

If you work on something a little bit every day, you end up with something that is massive.