We're living in what used to be Mexico, and there's this very fluid border feeling. You go a little bit south of Tijuana, for instance, into Ensenada, and it still seems kind of borderlike. And you go much farther, suddenly the prices are lower, the prostitution is different, the commerce is different, everything feels more "Mexican."

I studied Comparative Literature at Cornell. Structuralism was real big then. The idea of reading and writing as being this language game. There's a lot of appeal to that. It's nice to think of it as this playful kind of thing. But I think that another way to look at it is "Look, I just want to be sincere. I want to write something and make you feel something and maybe you will go out and do something." And it seems that the world is in such bad shape now that we don't have time to do nothing but language games. That's how it seems to me.

[Ernest ]Hemingway always said, "Write about what you know." I think you can do that, and if you want to write about what you don't know, you can. It just takes a lot more work.

The instant people specialize, its in their interest to dehumanize the people their specialized function operates upon.

I decided that there is really some sort of entity that I call Imperial, and I decided to extend it all the way along the California-Mexico border and into Tijuana and then to the Pacific because it all has a similar feeling.

Death cannot be experienced either by the dead or the living.

I want to fall in love with beautiful women of all races. Rescue somebody every now and then, improve my painting, and improve my sentence structure. If I can make a living doing that stuff, that's great, and I will keep doing it, and they can do whatever they want with my image. I couldn't care less.