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The latter is of course an impossible demand, and so many female writers are criticized when they (inevitably) fall short.”The British writer Olivia Laing isn’t exactly thrilled to be grouped into the category of women who write about matters of love and sex.

She was in Cambridge, England, when I reached her to discuss her approach to the personal.

Instead, this new crop of nonfiction seeks to blend personal writing with social analysis, to fashion some kind of philosophy about how we live, and love, now.

Examples abound: Moira Weigel’s debut, “Labor of Love”; Kate Bolick’s dissection of singleness in her 2015 book, “Spinster”; Jessica Valenti’s recent memoir, “Sex Object”; Kristin Dombek’s starkly original take on threesomes in The Paris Review.

To this end, she provides an extensive collection of romantic encounters and involvements — even though she knew that her book, and its title, were bound to provoke endless Twitter hate.“Whenever women write about sex, whenever they write about their relationship history, there’s a sort of rush to judgment that it must be navel gazing, it must be frivolous, it’s unimportant,” Ms. “Whereas of course when men write things about their sex lives or past relationships, it’s brave and universal and all the great things.”For her, the decision to do a memoir was a departure.carries with it a persistent whiff of strangeness, deviance and failure” — moved to New York City for a man and then he left her, sending her spiraling into the kind of year that can, if you are Ms. Instead, she takes long, introspective walks through the city where she is loveless and occasionally so unmoored that she can barely bring herself to order coffee, too vulnerable to cope with her barista’s continuing inability to decode her English accent.When pressed about her ambivalence toward revealing her private life in writing, Ms.In considering questions like why she was not married or almost married (and why many of her friends who wanted to be married were also not married), Ms.Witt, who has written for the London Review of Books and The New Yorker, and is a contributing editor to T: The New York Times Style Magazine, recalled thinking that “technology had changed.

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“The big hurdle was my parents reading stuff, because we had maintained this fiction about what my life was that was really comfortable for everybody.

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