[Dennis Mathis] was very sensitive about keeping the unique way that I spoke English - it had a lot of Mexicanisms or Mexican syntax. So you keep it in because it's adding something unique.

You can try reading books that will help you be a leader, like Marshall Rosenberg and Thich Nhat Hanh. Be very humble and say, "I don't know why. I don't feel qualified, but I accept this role that you gave me, and so help me."

Everything is holding its breath inside me. Everything is waiting to explode like Christmas. I want to be all new and shiny. I want to sit out bad at night, a boy around my neck and the wind under my skirt. Not this way, every evening talking to the trees, leaning out my window, imagining what I can't see.

When you're in that state of grief, any little breeze, any hello, any confrontation, any grazing of someone meeting your eyes, might cause you suddenly to burst into grief. You could be looking at a jar of peanut butter in the supermarket, and then start crying.

I'm most tired after I read, after I've just done a performance, but what I try to do is to fuel and eat a really healthy meal before I perform. I want to have enough energy to talk to that last person.

Each book gets harder, each book gets harder and harder. I always feel like crying when I have to write.

When I have a writing workshop, I like to have people that are anthropologists and people who are poking around in other fields, I like to have them all in the same workshop, and not worry about genre. I like to mix it up, because the kind of comments you can get from a fiction writer about your poetry are going to be very different than what you'll get from a poet. Or the comments you'll get from a filmmaker about your performance are going to be very different. My writing workshop is about mixing it up, cross-pollinating, not only in genres but in occupations.