I didn't write the memoir with any sort of intention of feeling better. I wrote the memoir because I had a weird need to write a good story. But once I was done, I did feel better about myself. Not better, just calmer. Because a tremendous onus had been lifted off my day-to-day.

It feels like people talk a lot, in their relationships and in therapy. But my family wasn't like that. My dad wasn't and I wasn't. Things were said, but via the language of action.

Even as my family fell apart and things were at their most hopeless, my dad and I found a lot of happiness in the wilderness - sleeping on the cold gravel and killing as many things as we could get our hands on. Even as my mom got progressively more crazy, we found a happiness, in flashes.

Maybe it's easier to think about dishonesty and what kind of trouble you can get into as a writer when love and honesty collide and you sidestep that collision, either because you want to protect somebody or you want to blame somebody - which are the usual impulses in love: protection and blame, frequently at the same time - so you don't exactly tell the truth.

You see things really different when your father is so intimately, so indisputably in charge of your continued existence on the planet.

I've managed to create intimacy with people I know, and people that I don't know. The longer things stay inside of us, the more we think they are black or tainted, but they're really not.

When you're looking around for metaphor or simile, I do think it's often helpful to keep inside the world of the book, to gather your comparisons from the stuff particular to that world - be they king salmon and aviation fuel, or pot roasts and spatulas.