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

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 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.

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

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

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.

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.