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There's a lot of things that haven't been communicated to our communities. I didn't know these things myself. I didn't know that if you ate cheap food, it was like buying cheap gasoline, and there was a reason why after an hour you get headaches, or youhypoglycemic.
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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!"
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We have all this courage as writers, but then there's this fear.
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I feel like I am in a box of bees when I am in a room with lots of people and I'm just looking for the door. I find myself getting more and more agoraphobic as time goes on.
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I was very lucky. I don't know German, or Dutch, or Chinese, or Thai. I don't know them, so I can't judge, so I have to go on the word of the publisher that it's a good translation.
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I was reading Carl Sandburg and Gwendolyn Brooks, and I'm still very, very deeply moved by Gwendolyn Brooks's life and her work.
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Courage always bigger than what you think you can handle, but you're never going to be given something you can't handle. So you say, "Okay, when you tell me what it is that I'm supposed to do, please give me the courage to do it."
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The ability to be present with every single person and engage was a great model for me of the work that a writer needs to do. Writers, living or dead, still guide me in many ways.
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We started an organization that's the only sub-organization of the MacArthur Foundation and we are called the Macarturos. Usually when I win something, I'm the only one of my ethnicity to get it, but this time I met all these Latinos, and I was so excited. I'd meet someone and I'd go, "Can you come to San Antonio?" And they'd go, "Oh yeah." And suddenly I had twelve people that said they would come. And I didn't know how it was going to be. And that's how the Macarturos became a reality, where these very generous geniuses come to San Antonio and work together.
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But I deal with this by meditating and by understanding I've been put on the planet to serve humanity. I have to remind myself to live simply and not overindulge, which is a constant battle in a material world.
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It's so good for your health to take those naps. I don't know why people brag that they sleep five hours. I'd be ashamed. I'm proud that I sleep nine hours.
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There was a time when I used to go to Mexico every year. But then Mexico changed a lot - between 1995 and 2005, Mexico changed a lot.
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My feminism is humanism, with the weakest being those who I represent, and that includes many beings and life forms, including some men.
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When I was at home, I wasn't shy. I was the clown at home, because I was loved. It was in the outside world that I was judged and I wasn't loved. That was very clear to me, that I wasn't loved. So I became very quiet. You know, those little girls you see in those pictures that look like they want to hunch, I was trying to disappear into my shoulder blades. The quietest person in the classroom, that was me. But that wasn't me at home.
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Thich Nhat Hanh the one that revolutionized Buddhism. Instead of being monks just engaged in meditation, it was active Buddhism. You went out and felt the ills of the community around you. Instead of retreating to a monastery, you were out in the streets working. And he's been a great help to me, just reading his book, so I don't feel helpless about what I can do about all the violence around me.
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True love in Mexico isn't between lovers; it's between a parent and a child. Mexico is a very intense culture of sons adoring their mothers, and this is why I claim that Mexican culture is matriarchal. Because the one constant, faithful, inviolable, holy love of loves - the love of your life - is not your wife or your lover; it's your mother.
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That's why it's important to be multilingual, because it teaches you so much about your own language.
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I never paid attention when people said, "That's gotta be poetry. That's gotta be fiction," except when I was in a graduate program, and you had to claim your genre.
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And the nice thing about writing a novel is you take your time, you sit with the character sometimes nine years, you look very deeply at a situation, unlike in real life when we just kind of snap something out.
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You know, if you've got nine people that you've got to get a treat for - because you do have sweet food, even if you're poor - you can't go out and buy a Sara Lee cake. You buy the big bag of cookies, those chocolate and vanilla ones with the icing. That has a lot of trans fat in it, but it goes a long way with a lot of people.
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If you start thinking about who's going to read it [you're writing], or what grade will you get, or is it going to win that award, or are you going to get into this graduate program, you're blocking the light, and the light is that guidance and love we get when we open up our hearts and are guided by our higher selves, or God, or the Buddha Lupe Buddha and the Virgin of Guadalupe fused together, as they are in the tattoo on Sandra's right arm, or whatever you believe in, or love.
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I'm learning a lot by reading teachers like Thich Nhat Hanh, Pema Chodron. They teach me because I feel like I have a responsibility to the communities that I speak to.
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The truth has a strange way of following you, of coming up to you and making you listen to what it has to say.
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I don't see any kind of mirror of power, male power, that is, as a form of liberation. I don't believe in an eye for an eye. I don't believe this is truly freedom.