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.

But America isn't a country of family values; Mexico is a country of family values. This is a country of people who leave home.

My grandmother would always tell me that I was hers, that I was Mexican. That was her role. It was not my teacher's role to tell me I was Mexican. It was my teacher's role to tell me I was an American.

There is San Diego - this retirement village, with its prim petticoat, that doesn't want to get too near the water. San Diego worries about all the turds washing up on the lovely, pristine beaches of La Jolla. San Diego wishes Mexico would have fewer babies. And San Diego, like the rest of America, is growing middle-aged.

I had an Indian face, but I never saw it as Indian, in part because in America the Indian was dead. The Indian had been killed in cowboy movies, or was playing bingo in Oklahoma. Also, in my middle-class Mexican family indio was a bad word, one my parents shy away from to this day. That's one of the reasons, of course, why I always insist, in my bratty way, on saying, Soy indio! - "I am an Indian!"

I don't think writers should be convenient examples. I don't think we should make people feel settled. I don't try to be a gadfly, but I do think that real ideas are troublesome. There should be something about my work that leaves the reader unsettled. I intend that.

We're looking at such enormous complexity and variety that it makes a mockery of "celebrating diversity." In the L.A. of the future, no one will need to say, "Let's celebrate diversity." Diversity is going to be a fundamental part of our lives. That's what it's going to mean to be modern.