If we were multilingual, imagine how much you would learn about your own culture, about the sensibilities of what's important in your own culture.

I think that you need to have books that talk about the lives of the poor, and they need to be involved - involved in acquisitions.

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 learn through listening and watching other performers that are very good, like Denise Chávez, Dorothy Allison.

I was one of those people raised by a woman who was what I call a prisoner of war. She was captured, she didn't want to be there, she was unhappy, she was banging away in the kitchen, the way that a prisoner would bang on her jail cell, you know, really unhappy. She had to cook for nine people with really little money, so she really just got burned out. So I didn't know that you could actually cook and it would be calming, pleasurable.

I wanted to write something in a voice that was unique to who I was. And I wanted something that was accessible to the person who works at Dunkin Donuts or who drives a bus, someone who comes home with their feet hurting like my father, someone whos busy and has too many children, like my mother.

People want you to be the ambassador of everything. This happens to me especially when I go to Europe. I have to be the ambassador of everything. I learned this from Elena Poniatowska - intelligent woman, great lady, one of my heroes, one of my spiritual mentors, I love her. Someone is in this big museum and they ask her, "Elenita, what do you think about Mexican women . . ." And she says, "I haven't a clue!"