I had to detach myself from myself, if that makes any sense, to conjure an authentic first-person voice. In that sense, it was similar to writing a first-person novel. But I was writing about real people, not fictional ones - myself, my family, my friends and boyfriends and ex-husband, and that was extremely tricky.

I've always subscribed to the notion that a writer always has something else to say, and the more you write, the more you have to write about, because the act of writing is self-generating.

Thank God for my hobgoblin, small-minded consistency.

As an adult I generally feel this pressure to be thin, not from men, but from other women. As a silent or not-so-silent competition, a constant monitoring of who's thinner, comments about it - either compliments or veiled insults doesn't matter - it always drives me nuts.

My sudden, unforeseen capitulation had knocked me backward, and I had nothing to hold on to. My internal weather was eerily calm, as if in a tornado's aftermath, birdsong, sunshine, supersaturated colors, wreckage all around, and myself, dazed and limping.

I was also writing in a tradition and trying to do something different with it, something that hadn't necessarily been done before, which was a risk, but it made it interesting. My relationship with food has been complicated and rocky and not always wonderful, and it's a lens through which my entire life and identity are refracted.

I wanted to capture time through how food and I were getting along at any given moment. That necessitated writing some dark stuff, some sad stuff, and a lot of painful memories, because my life has often been dark, sad, and painful. I didn't want to sugarcoat anything.