At Guernica, Kirsten O’Regan delves into labiaplasty, a “relatively unregulated, frequently botched” and scarily popular new surgery. The oddest (and saddest) thing she learns about the procedure? Apparently a lot of young mothers urge their daughters to do it.
“Writers such as Gary Lutz, Diane Williams, Christine Schutt, and Noy Holland palpably employ, in somewhat different but observable ways, the strategy [Gordon] Lish calls ‘consecution,’ the focus on constructing and linking sentences by considering sound and rhythm as well as sense.” At Full-Stop, Daniel Green examines the editor’s influence in a piece on Noy Holland’s new book.
“I was being paranoid, but those of us who write memoirs should never underestimate the damage they can cause. I’ve seen close relationships rocked by a memoir. I’ve seen parents stop speaking to their children for years. Memoirs pose a natural threat to the family mythology, those portraits framed on the mantel piece that say everyone is happy and nothing is wrong.” Sarah Hepola asks her mother and father what it felt like to be portrayed in her memoir, Blackout.
“I started zoning out a little. My eyes drifted over toward my cat. Mr. Patterson pulled me right back in by saying, ‘Once you have the outline, start writing dude, you’re ready.’ It was that dude that woke me.” At The Awl, Patrick Hoffman reviews James Patterson’s MasterClass on writing. Pair with Bill Morris‘s account of losing his Pattersonian virginity at 32,000 feet.
New this week: Karen Russell’s new collection Vampires in the Lemon Grove; buzzed-about thriller The Dinner by Herman Koch; Harvest by Jim Crace; Fight Song by Joshua Mohr; the final novel of the late Maeve Binchy, A Week in Winter; Tara Conklin’s debut The House Girl; and James Lasdun’s non-fiction Give Me Everything You Have: On Being Stalked.