But being an American woman married to an Arab guy - and a Muslim to boot! - put me in a different category. People would open up, and tell me things that they would never tell another journalist, no matter how persistent.

One of the unspoken themes that I'm grappling with in Day of Honey is the relationship between violence and cosmopolitanism. It's one thing to comprehend violence as an outgrowth of ignorance, poverty, and backwardness. It's another matter entirely to confront incredible atrocities in a country with a rich civic and intellectual life.

I chose to write about food: food is inherently political, but it's also an essential part of people's real lives. It's where the public and private spheres connect. I wanted to show readers that the larger politics of war and economics and U.S. foreign policy are inextricably bound to the supposedly trivial details of our everyday lives.

Part of the reason you see so little about this in the Western media is that Iraq was closed off from the outside world for so long under Saddam. But I think there's a deeper reason, which is that it messes with our assumptions - not just about Iraq, but about culture and human nature.

You [can] become part of someone else's narrative. Every once in a while I would get people asking me questions like, "If your husband is a Muslim, then why haven't you converted to Islam?" Interestingly enough, almost every person who asked me that was a Sunni, and it was their not-so-subtle way of implying that my Shiite husband was a bad Muslim for letting his infidel wife run around unconverted.

We're taught that domestic life is not a "serious" political topic, like war and peace, but the fact is that we spend most of our lives doing everyday things: at the dinner table, in the kitchen, washing dishes, grocery-shopping, commuting. These things make up the fabric of our lives.

So much of what we see and hear about the Middle East focuses on what we call politics, which is essentially ideology. But when it comes to the Middle East, and especially the Arab world, simply depicting people as human beings is the most political thing you can do. And that's why I chose to write about food: food is inherently political, but it's also an essential part of people's real lives. It's where the public and private spheres connect.