From her Q & A at the Guardian:
How did you come to write Blood, Bones and Butter?--Marshal Zeringue
I spent the first three and a half years resisting, denying that I was writing a memoir and erasing two thirds of what I was writing because in every lit class I've ever taken the category of memoir is dismissed, demeaned, and considered weak, confessional, and "girly". Then I spent another six months savaging what little work I had managed to produce. Then I had a frank conversation with myself in which I admitted that I was not as talented as I wish I was. This gave me the permission to just do my absolute best within my limited skill set. I also made a commitment to write "hospitably", as I have been trained to be in the kitchen – to do everything I could to take care of and to serve the reader as I would take care of and serve a guest in my restaurant. In essence, I did everything I could to remove my own ego and apprehensions and just be the person who – metaphorically speaking – cooks the food and cleans up afterwards.
What was most difficult about it?
How to evoke both the romance and nostalgia of something that I was simultaneously mourning the loss of and regarding with a jaundiced eye, and then to maintain a voice that I could bear to listen to for 85,000 words. I listened to this advice from my friend David Young: "The voice? The voice is you talking to the smartest person you know about...[read on]