The notion of the writer as a kind of sociological sample of a community is ludicrous. Even worse is the notion that writers should provide an example of how to live. Virginia Woolf ended her life by putting a rock in her sweater one day and walking into a lake. She is not a model of how I want to live my life. On the other hand, the bravery of her syntax, of her sentences, written during her deepest depression, is a kind of example for me. But I do not want to become Virginia Woolf. That is not why I read her.

'm constantly depressed by the Mexican gang members I meet in East L.A. who essentially live their lives inside five or six blocks. They are caught in some tiny ghetto of the mind that limits them to these five blocks because, they say, "I'm Mexican. I live here." And I say, "What do you mean you live here - five blocks? Your granny, your abualita, walked two thousand miles to get here. She violated borders, moved from one language to another, moved from a sixteenth-century village to a twenty-first-century city, and you live within five blocks?"

The drama of the essay is the way the public life intersects with my personal and private life. It's in that intersection that I find the energy of the essay.

Mexico is sex and Canada is mind. There is much about Canada that I find admirable - the treatment of immigrants, for example, particularly those from Central America during the recent civil wars there. But there is confusion too: I know of Croatian Nazis who are subsidized by the Canadian government to maintain their racist culture. There is Canada, trying to sustain diversity without knowing exactly what it's doing.

But one does not forget by trying to forget. One only remembers.

Most American Hispanics don't belong to one race, either. I keep telling kids that, when filling out forms, they should put "yes" to everything - yes, I am Chinese; yes, I am African; yes, I am white; yes, I am a Pacific Islander; yes, yes, yes - just to befuddle the bureaucrats who think we live separately from one another.

I became a writer not because my father was one - my father made false teeth for a living. I became a writer because the Irish nuns who educated me taught me something about bravery with their willingness to give so much to me.