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.

I had all this anxiety about what it meant to be a minority. My professors - the same men who taught me the intricacies of language - just shied away from the issue. They didn't want to talk about it, other than to suggest I could be a "role model" to other Hispanics - when I went back to my barrio, I suppose.

My decision was sparked by affirmative action. There was a point in my life when affirmative action would have meant something to me - when my family was working-class, and we were struggling.

I think what education gives you is a voice. It gives you a way of talking to a judge. When a policeman pulls you off to the side of the road, you have a voice. When you cross a border, you have a voice. When you are writing to express your opinions, you have a voice.

The average age in the U.S. is now thirty-three, whereas Mexico gets younger and younger, retreats deeper and deeper into adolescence. Mexico is fifteen. Mexico is wearing a Hard Rock Cafe T-shirt and wandering around Tijuana looking for a job, for a date, for something to put on her face to take care of the acne.

I worry these days that Latinos in California speak neither Spanish nor English very well. They are in a kind of linguistic limbo between the two. They don't really have a language, and are, in some deep sense, homeless.

For them [LGBT group], language has to say exactly what it means. "Why aren't you proud of being gay?" they wanted to know. "Why are you so dark? Why are you so morbid? Why are you so sad? Don't you realize, we're all okay? Let's celebrate that fact." But that is not what writers do. We don't celebrate being "okay." If you want to be okay, take an aspirin.