We're living in a time when the sheer amount of language has exponentially increased. As writers, if we wish to be contemporary, I think we need to acknowledge that the very nature of the materials that we're working with - the landscape of language - is very different than it was a few decades ago.

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.

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.

Conceptual writing is looking for that "Aha!" moment, when something so simple, right under our noses, is revealed as being awe- inspiring, profound, and transcendent.

Twitter is not art. But it inspires me in the way that art used to inspire me.

How fortunate we are to exist in the moneyless economy of poetry! When you take money out of the equation, anything goes and nobody cares. It's truly free.

You can't show me a sentence, word, or phoneme that is meaningless; by its nature, language is packed with meaning and emotion.