{"id":1848208,"date":"2026-03-26T11:03:00","date_gmt":"2026-03-26T08:03:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1848208"},"modified":"2026-03-26T11:03:00","modified_gmt":"2026-03-26T08:03:00","slug":"goop-horror-the-new-wave-of-literature-skewering-the-beauty-industry","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1848208","title":{"rendered":"Goop horror: The new wave of literature skewering the beauty industry"},"content":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/images-prod.dazeddigital.com\/1200\/0-0-1843-1229\/azure\/dazed-prod\/1390\/1\/1391609.jpeg&#8221;]<\/p>\n<article class=\"main-article standard \">\n<div class=\"article-main-content article-wrapper has-media-but-its-an-image\" data-status=\"loaded\" data-primary-article=\"true\" data-url=\"\/beauty\/article\/69977\/1\/goop-horror-the-new-wave-of-literature-skewering-the-beauty-industry\" data-article-id=\"69977\">\n<header class=\"article-header has-landscape-image no-media\">\n<div class=\"wrapper dg-max-width\">\n<div class=\"inner\">\n<figure class=\"main-img has-figcaption\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.8\" data-template=\"Standard Article\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Body horror in The Substance\" class=\"img\" height=\"1229\" src=\"https:\/\/images-prod.dazeddigital.com\/1400\/azure\/dazed-prod\/1390\/1\/1391609.jpeg\" width=\"2208\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"inner\"><span class=\"credit\">The Substance (2024)<\/span><\/span><\/figcaption><\/figure>\n<aside class=\"meta\">\n<div class=\"inner\"><time datetime=\"2026-03-26T11:03:00+00:00\" class=\"timestamp\" title=\"26 March 2026\"><span class=\"month\">March<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"26\">26,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/div>\n<\/aside>\n<div class=\"titles\">\n<div class=\"tags\">\n<div class=\"sections\"><a class=\"category vertical - beauty\" href=\"https:\/\/www.dazeddigital.com\/beauty\">Beauty<\/a><br \/>\n\/<br \/>\n<a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/beauty-feature\">Beauty Feature<\/a><\/div>\n<\/div>\n<div class=\"standard-tag-container\"><a class=\"standard-category\" href=\"https:\/\/www.dazeddigital.com\/beauty\">Beauty<\/a> \/<br \/>\n<a class=\"standard-series\" href=\"https:\/\/www.dazeddigital.com\/beauty-feature\">Beauty Feature<\/a><\/div>\n<h1 class=\"title\"><span>Goop horror: The new wave of literature skewering the <span class=\"nowrap\">beauty industry<\/span><\/span><\/h1>\n<div class=\"standfirst\">\n<h2>Hot on the heels of films like The Substance, more and more novelists are grappling with the ugliness of <span class=\"nowrap\">beauty culture<\/span><\/h2>\n<\/div>\n<p><time datetime=\"2026-03-26T11:03:00+00:00\" class=\"timestamp\" title=\"26 March 2026\"><span class=\"month\">March<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"26\">26,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/div>\n<\/div>\n<p><time datetime=\"2026-03-26T11:03:00+00:00\" class=\"timestamp\" title=\"26 March 2026\"><span class=\"month\">March<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"26\">26,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/p>\n<div class=\"providers\">\n<div class=\"contributors\"><span class=\"contributor\" data-contributor-role=\"Text\"><span class=\"contributor-role\">Text<\/span><a class=\"contributor-name\" href=\"https:\/\/www.dazeddigital.com\/user\/MadeleineFeeny\">Madeleine Feeny<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/header>\n<div class=\"article-body-container\">\n<div class=\"article-body wrapper\">\n<div class=\"dazed-gallery has-19-images \">\n<div class=\"inner\">\n<header>\n<div class=\"info\"><span class=\"heading\">Body horror in <span class=\"nowrap\">The Substance<\/span><\/span><\/div>\n<\/header>\n<div class=\"gallery\">\n<div class=\"gallery-thumbs\">\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/beauty\/gallery\/34414\/0\/body-horror-in-the-substance\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Body horror in The Substance\" class=\"img\" height=\"859\" src=\"https:\/\/images-prod.dazeddigital.com\/320\/0-0-1288-859\/azure\/dazed-prod\/1390\/1\/1391610.jpeg\" width=\"1288\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/beauty\/gallery\/34414\/1\/body-horror-in-the-substance\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Body horror in The Substance\" class=\"img\" height=\"800\" src=\"https:\/\/images-prod.dazeddigital.com\/320\/417-0-1200-800\/azure\/dazed-prod\/1400\/3\/1403673.jpeg\" width=\"1200\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/beauty\/gallery\/34414\/2\/body-horror-in-the-substance\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Body horror in The Substance\" class=\"img\" height=\"801\" src=\"https:\/\/images-prod.dazeddigital.com\/320\/318-0-1201-801\/azure\/dazed-prod\/1390\/1\/1391605.jpeg\" width=\"1201\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/beauty\/gallery\/34414\/3\/body-horror-in-the-substance\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Body horror in The Substance\" class=\"img\" height=\"570\" src=\"https:\/\/images-prod.dazeddigital.com\/320\/215-0-855-570\/azure\/dazed-prod\/1390\/1\/1391603.jpeg\" width=\"855\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/beauty\/gallery\/34414\/4\/body-horror-in-the-substance\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Body horror in The Substance\" class=\"img\" height=\"1331\" src=\"https:\/\/images-prod.dazeddigital.com\/320\/0-0-1996-1331\/azure\/dazed-prod\/1390\/1\/1391598.jpg\" width=\"1996\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/beauty\/gallery\/34414\/5\/body-horror-in-the-substance\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Body horror in The Substance\" class=\"img\" height=\"578\" src=\"https:\/\/images-prod.dazeddigital.com\/320\/201-0-867-578\/azure\/dazed-prod\/1390\/1\/1391607.jpeg\" width=\"867\"><\/span><\/span><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"gallery-footer\">Gallery \/ 19 images<\/div>\n<\/div>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>In Sarah Wang\u2019s debut novel <\/span><em><span>New Skin<\/span><\/em><span>, a Chinese immigrant mother in Los Angeles spends her benefit payments on backstreet cosmetic procedures. When things go catastrophically awry, her daughter discovers that some of the substances being illegally injected into faces would be more at home on building sites.\u00a0<\/span><\/p>\n<p><span>Wang, who researched the novel partly through immersion in the American reality show <\/span><em><span>Botched<\/span><\/em><span>, which documents cosmetic surgery disasters, found the truth required little embellishment. She describes women who woke from surgery to find procedures had been performed on them without consent. Meanwhile, a surgeon whose practice consisted almost entirely of debriding flesh rotted by Brazilian butt lifts told her that most get botched.<\/span><\/p>\n<p><span>The UK, too, has witnessed an alarming explosion in cowboy procedures<\/span><span>\u00a0\u2013 often marketed as non-surgical, but actually invasive and high-risk \u2013 with the government announcing <a href=\"https:\/\/www.gov.uk\/government\/news\/crackdown-on-unsafe-cosmetic-procedures-to-protect-the-public\">new regulations<\/a> to protect people and save NHS resources from fixing botched interventions. Among the most shocking cases was <\/span><a href=\"https:\/\/www.theguardian.com\/uk-news\/2024\/sep\/26\/tributes-to-woman-thought-to-be-first-to-die-from-suspected-brazilian-butt-lift-in-uk\"><span>Alice Webb<\/span><\/a><span>, a 33-year-old mother of five who died in 2024 following a liquid BBL from Jordan James Parke, AKA the self-styled \u201cLip King\u201d, a now-deceased rogue practitioner.\u00a0<\/span><\/p>\n<p><span>Part of an emerging subgenre dubbed \u201cGoop horror\u201d, <\/span><em><span>New Skin<\/span><\/em><span> (published by Picador in June) is part of a wave of novels that expose the beauty and anti-ageing industries as systems that exploit, consume and ultimately erase the women they claim to serve. In <\/span><em><span>The Take<\/span><\/em><span> by Kelly Yang (published by Constable in April), a broke young Asian American writer sells her youth to a powerful Hollywood producer via experimental blood transfusions. In <\/span><em><span>Turn Back Time<\/span><\/em><span> by Eleanor Tucker (published by Canelo in April), a beauty journalist trials a miracle anti-ageing treatment which dissolves her identity dissolves as well as her wrinkles. <\/span><\/p>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>The novels arrive amid a broader cultural reckoning with the dark side of beauty: satirical body horror is exploding messily on screen, with Coralie Fargeat\u2019s film <\/span><em><span>The Substance<\/span><\/em><span> and Ryan Murphy\u2019s TV show <\/span><em><span>The Beauty<\/span><\/em><span> processing the same anxieties through a more visceral lens, while LA noir thriller <\/span><em><span>Skincare,<\/span><\/em><span> inspired by true events, stars Elizabeth Banks as a celebrity facialist driven to extremes by her rivalry with a competitor. But fiction, working at the level of interiority, does something that spectacle cannot \u2013 it gets inside the minds of women prepared to take huge risks for the promise of youth or a certain aesthetic.\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span>Through the desperation of their characters \u2013 for cash, cultural assimilation or social or professional acceptance \u2013 these novels uncover the class, race and feminist issues underpinning the lunchtime tweakments sold on Instagram. Anita Bhagwandas, beauty journalist and author of <\/span><em><span>Ugly: Why The World Became Beauty Obsessed and How To Break Free<\/span><\/em><span>, says the industry has reached cultural saturation. \u201cFor decades, beauty operated as a soft power. Now, with the rise of injectables, tweakments and algorithm-driven faces, it\u2019s become impossible to ignore. Fiction is a natural place to process that \u2013 because, mentally, we haven\u2019t had time to process what\u2019s happening. These novels are less about beauty and more about who truly puppeteers the commodification of the body.\u201d<\/span><\/p>\n<p><span>This conversation has been building in fiction for some years. Frances Cha\u2019s <\/span><em><span>If I Had Your Face<\/span><\/em><span> (2020) follows four working-class Seoul women navigating a city where cosmetic surgery is positioned not as vanity but as necessity. Ling Ling Huang\u2019s <\/span><em><span>Natural Beauty<\/span><\/em><span> (2023), inspired by her experience of working in a beauty store, sent a Chinese American narrator into a New York wellness company whose products conceal a disturbing truth \u2013 proof, as Huang has it, that looking beautiful has less to do with how well you are than how well off you are.<\/span><\/p>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>The elixir of youth is one of literature\u2019s oldest MacGuffins, but what makes its appearance in these novels so contemporary is the insistence on mundanity. Tucker, a former beauty journalist, wanted her protagonist\u2019s experience to echo a lunchtime treatment. Yang, whose research led her to Silicon Valley, where entrepreneurs such as Bryan Johnson conduct anti-ageing blood-transfusion experiments, notes that her biohacking premise \u2013 also featured in Madeline Cash\u2019s novel <\/span><em><span>Lost Lambs<\/span><\/em><span> \u2013\u00a0barely needed fictionalising.\u00a0<\/span><\/p>\n<p><span>The fear of ageing has become an arms race, says Yang. \u201cWe think we can control [the process], but we really can\u2019t, and we shouldn\u2019t have to. We\u2019re constantly being told as women that our time is up, and as soon as that shadow is cast, we have a really hard time proving that we still deserve to be heard.\u201d Tucker sees it as a double bind: \u201cIf you do too much, you are seen as vain or plastic-faced. But if you let the grey come in, there\u2019s a sense that you\u2019re a bit lazy.\u201d\u00a0<\/span><\/p>\n<p><span>Bhagwandas observes that the messaging starts much younger now, with twenty-somethings being told to prevent ageing. \u201cBotox is presented like getting your nails done. Fillers are discussed in the same breath as skincare. That reframing removes the psychological barrier \u2013 but these are still medical procedures with real consequences. Who we trust, and can afford to trust, becomes crucial.\u201d<\/span><\/p>\n<p><span>The class politics are as confronting as a scalpel to the nose. <\/span><em><span>New Skin<\/span><\/em><span> illuminates how unlicensed clinics exploit marginalised women, turning them into addicts. Tucker makes the same point through the softer violence of influencer culture: \u201cThe people selling these things are doing it from a place of privilege, but telling the story that you\u2019re just one product away. You&#8217;re not just one product away.\u201d<\/span><\/p>\n<p><span>Dr Jessica Andrews, a novelist and creative writing professor specialising in gender and social class in relation to the body, is precise about the mechanism. \u201cFor working-class women, beauty often serves an aspirational function, holding the false promise that it might change our lives and circumstances. The beauty industry places the onus on the individual to change their own appearance \u2013 a flawed, neoliberal ideology that shifts focus away from systemic change.\u201d<\/span><\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<blockquote>\n<p><span> \u201cFor working-class women, beauty often serves an aspirational function, holding the false promise that it might change our lives and circumstances\u201d<\/span><\/p>\n<\/blockquote>\n<p><span>The racial dimension is equally unsparing. Both Wang and Yang locate cosmetic alteration within a longer history of assimilation\u2019s poisoned promise. Wang is direct. \u201cThe goals of plastic surgery \u2013 a thin, high nose bridge, high cheekbones, bigger eyes \u2013 are Caucasian features and standards. For me, it was a metaphor for the dangers of whiteness,\u201d she says. <\/span><em><span>The Take<\/span><\/em><span> makes the racial power dynamic its central architecture: a young Asian American woman selling her most intimate biological resource to a white producer. In Bhagwandas\u2019s analysis, \u201ca beauty industry built on Western ideals doesn\u2019t just exclude women of colour, it actively reshapes them. For women of colour, altering your appearance can feel like a way to reduce friction in a new environment. What\u2019s particularly insidious is how this plays out in less regulated spaces where vulnerability is exploited for profit.\u201d<\/span><\/p>\n<p><span>The authors agree that culpability lies not just with the beauty industry but with the society that enables it. \u201cWe think women need to look youthful because they look fertile and useful,\u201d says Tucker. When a woman doesn\u2019t care what men think of her, \u201cit suggests she might have some wisdom. That\u2019s unsettling to some.\u201d Wang, meanwhile, gives her protagonist Fanny a \u201cbadass\u201d spirit that prevents her being cast as a victim.\u00a0<\/span><\/p>\n<p><span>Tucker surmises that we remain trapped in the beauty industry\u2019s clutches \u201cbecause we don\u2019t want to look old.\u201d The industry, by this reading, is a mirror that reveals something far more uncomfortable about ourselves than crow\u2019s feet. Subject to these forces, the female body becomes a site of transaction in these novels: bought, sold, harvested, gradually collapsed. What they leave behind are questions less about beauty than power and patriarchal control: What are we so afraid of? And who exactly is profiting from that fear?<\/span><\/p>\n<\/div>\n<div id=\"newsletter-inline-last\">\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. 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Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. You have been subscribed<\/p>\n<p><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n<div class=\"article-body wrapper\">\n<div class=\"dazed-gallery has-19-images \">\n<div class=\"inner\">\n<header>\n<div class=\"info\"><span class=\"heading\">Body horror in <span class=\"nowrap\">The Substance<\/span><\/span><\/div>\n<\/header>\n<div class=\"gallery\">\n<div class=\"gallery-thumbs\">\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/beauty\/gallery\/34414\/0\/body-horror-in-the-substance\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Body horror in The Substance\" class=\"img\" height=\"859\" src=\"https:\/\/images-prod.dazeddigital.com\/320\/0-0-1288-859\/azure\/dazed-prod\/1390\/1\/1391610.jpeg\" width=\"1288\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/beauty\/gallery\/34414\/1\/body-horror-in-the-substance\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Body horror in The Substance\" class=\"img\" height=\"800\" src=\"https:\/\/images-prod.dazeddigital.com\/320\/417-0-1200-800\/azure\/dazed-prod\/1400\/3\/1403673.jpeg\" width=\"1200\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/beauty\/gallery\/34414\/2\/body-horror-in-the-substance\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Body horror in The Substance\" class=\"img\" height=\"801\" src=\"https:\/\/images-prod.dazeddigital.com\/320\/318-0-1201-801\/azure\/dazed-prod\/1390\/1\/1391605.jpeg\" width=\"1201\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/beauty\/gallery\/34414\/3\/body-horror-in-the-substance\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Body horror in The Substance\" class=\"img\" height=\"570\" src=\"https:\/\/images-prod.dazeddigital.com\/320\/215-0-855-570\/azure\/dazed-prod\/1390\/1\/1391603.jpeg\" width=\"855\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/beauty\/gallery\/34414\/4\/body-horror-in-the-substance\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Body horror in The Substance\" class=\"img\" height=\"1331\" src=\"https:\/\/images-prod.dazeddigital.com\/320\/0-0-1996-1331\/azure\/dazed-prod\/1390\/1\/1391598.jpg\" width=\"1996\"><\/span><\/span><\/a><\/div>\n<div class=\"gallery-thumb\"><a href=\"https:\/\/www.dazeddigital.com\/beauty\/gallery\/34414\/5\/body-horror-in-the-substance\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Body horror in The Substance\" class=\"img\" height=\"578\" src=\"https:\/\/images-prod.dazeddigital.com\/320\/201-0-867-578\/azure\/dazed-prod\/1390\/1\/1391607.jpeg\" width=\"867\"><\/span><\/span><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"gallery-footer\">Gallery \/ 19 images<\/div>\n<\/div>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>In Sarah Wang\u2019s debut novel <\/span><em><span>New Skin<\/span><\/em><span>, a Chinese immigrant mother in Los Angeles spends her benefit payments on backstreet cosmetic procedures. When things go catastrophically awry, her daughter discovers that some of the substances being illegally injected into faces would be more at home on building sites.\u00a0<\/span><\/p>\n<p><span>Wang, who researched the novel partly through immersion in the American reality show <\/span><em><span>Botched<\/span><\/em><span>, which documents cosmetic surgery disasters, found the truth required little embellishment. She describes women who woke from surgery to find procedures had been performed on them without consent. Meanwhile, a surgeon whose practice consisted almost entirely of debriding flesh rotted by Brazilian butt lifts told her that most get botched.<\/span><\/p>\n<p><span>The UK, too, has witnessed an alarming explosion in cowboy procedures<\/span><span>\u00a0\u2013 often marketed as non-surgical, but actually invasive and high-risk \u2013 with the government announcing <a href=\"https:\/\/www.gov.uk\/government\/news\/crackdown-on-unsafe-cosmetic-procedures-to-protect-the-public\">new regulations<\/a> to protect people and save NHS resources from fixing botched interventions. Among the most shocking cases was <\/span><a href=\"https:\/\/www.theguardian.com\/uk-news\/2024\/sep\/26\/tributes-to-woman-thought-to-be-first-to-die-from-suspected-brazilian-butt-lift-in-uk\"><span>Alice Webb<\/span><\/a><span>, a 33-year-old mother of five who died in 2024 following a liquid BBL from Jordan James Parke, AKA the self-styled \u201cLip King\u201d, a now-deceased rogue practitioner.\u00a0<\/span><\/p>\n<p><span>Part of an emerging subgenre dubbed \u201cGoop horror\u201d, <\/span><em><span>New Skin<\/span><\/em><span> (published by Picador in June) is part of a wave of novels that expose the beauty and anti-ageing industries as systems that exploit, consume and ultimately erase the women they claim to serve. In <\/span><em><span>The Take<\/span><\/em><span> by Kelly Yang (published by Constable in April), a broke young Asian American writer sells her youth to a powerful Hollywood producer via experimental blood transfusions. In <\/span><em><span>Turn Back Time<\/span><\/em><span> by Eleanor Tucker (published by Canelo in April), a beauty journalist trials a miracle anti-ageing treatment which dissolves her identity dissolves as well as her wrinkles. <\/span><\/p>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>The novels arrive amid a broader cultural reckoning with the dark side of beauty: satirical body horror is exploding messily on screen, with Coralie Fargeat\u2019s film <\/span><em><span>The Substance<\/span><\/em><span> and Ryan Murphy\u2019s TV show <\/span><em><span>The Beauty<\/span><\/em><span> processing the same anxieties through a more visceral lens, while LA noir thriller <\/span><em><span>Skincare,<\/span><\/em><span> inspired by true events, stars Elizabeth Banks as a celebrity facialist driven to extremes by her rivalry with a competitor. But fiction, working at the level of interiority, does something that spectacle cannot \u2013 it gets inside the minds of women prepared to take huge risks for the promise of youth or a certain aesthetic.\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span>Through the desperation of their characters \u2013 for cash, cultural assimilation or social or professional acceptance \u2013 these novels uncover the class, race and feminist issues underpinning the lunchtime tweakments sold on Instagram. Anita Bhagwandas, beauty journalist and author of <\/span><em><span>Ugly: Why The World Became Beauty Obsessed and How To Break Free<\/span><\/em><span>, says the industry has reached cultural saturation. \u201cFor decades, beauty operated as a soft power. Now, with the rise of injectables, tweakments and algorithm-driven faces, it\u2019s become impossible to ignore. Fiction is a natural place to process that \u2013 because, mentally, we haven\u2019t had time to process what\u2019s happening. These novels are less about beauty and more about who truly puppeteers the commodification of the body.\u201d<\/span><\/p>\n<p><span>This conversation has been building in fiction for some years. Frances Cha\u2019s <\/span><em><span>If I Had Your Face<\/span><\/em><span> (2020) follows four working-class Seoul women navigating a city where cosmetic surgery is positioned not as vanity but as necessity. Ling Ling Huang\u2019s <\/span><em><span>Natural Beauty<\/span><\/em><span> (2023), inspired by her experience of working in a beauty store, sent a Chinese American narrator into a New York wellness company whose products conceal a disturbing truth \u2013 proof, as Huang has it, that looking beautiful has less to do with how well you are than how well off you are.<\/span><\/p>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>The elixir of youth is one of literature\u2019s oldest MacGuffins, but what makes its appearance in these novels so contemporary is the insistence on mundanity. Tucker, a former beauty journalist, wanted her protagonist\u2019s experience to echo a lunchtime treatment. Yang, whose research led her to Silicon Valley, where entrepreneurs such as Bryan Johnson conduct anti-ageing blood-transfusion experiments, notes that her biohacking premise \u2013 also featured in Madeline Cash\u2019s novel <\/span><em><span>Lost Lambs<\/span><\/em><span> \u2013\u00a0barely needed fictionalising.\u00a0<\/span><\/p>\n<p><span>The fear of ageing has become an arms race, says Yang. \u201cWe think we can control [the process], but we really can\u2019t, and we shouldn\u2019t have to. We\u2019re constantly being told as women that our time is up, and as soon as that shadow is cast, we have a really hard time proving that we still deserve to be heard.\u201d Tucker sees it as a double bind: \u201cIf you do too much, you are seen as vain or plastic-faced. But if you let the grey come in, there\u2019s a sense that you\u2019re a bit lazy.\u201d\u00a0<\/span><\/p>\n<p><span>Bhagwandas observes that the messaging starts much younger now, with twenty-somethings being told to prevent ageing. \u201cBotox is presented like getting your nails done. Fillers are discussed in the same breath as skincare. That reframing removes the psychological barrier \u2013 but these are still medical procedures with real consequences. Who we trust, and can afford to trust, becomes crucial.\u201d<\/span><\/p>\n<p><span>The class politics are as confronting as a scalpel to the nose. <\/span><em><span>New Skin<\/span><\/em><span> illuminates how unlicensed clinics exploit marginalised women, turning them into addicts. Tucker makes the same point through the softer violence of influencer culture: \u201cThe people selling these things are doing it from a place of privilege, but telling the story that you\u2019re just one product away. You&#8217;re not just one product away.\u201d<\/span><\/p>\n<p><span>Dr Jessica Andrews, a novelist and creative writing professor specialising in gender and social class in relation to the body, is precise about the mechanism. \u201cFor working-class women, beauty often serves an aspirational function, holding the false promise that it might change our lives and circumstances. The beauty industry places the onus on the individual to change their own appearance \u2013 a flawed, neoliberal ideology that shifts focus away from systemic change.\u201d<\/span><\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<blockquote>\n<p><span> \u201cFor working-class women, beauty often serves an aspirational function, holding the false promise that it might change our lives and circumstances\u201d<\/span><\/p>\n<\/blockquote>\n<p><span>The racial dimension is equally unsparing. Both Wang and Yang locate cosmetic alteration within a longer history of assimilation\u2019s poisoned promise. Wang is direct. \u201cThe goals of plastic surgery \u2013 a thin, high nose bridge, high cheekbones, bigger eyes \u2013 are Caucasian features and standards. For me, it was a metaphor for the dangers of whiteness,\u201d she says. <\/span><em><span>The Take<\/span><\/em><span> makes the racial power dynamic its central architecture: a young Asian American woman selling her most intimate biological resource to a white producer. In Bhagwandas\u2019s analysis, \u201ca beauty industry built on Western ideals doesn\u2019t just exclude women of colour, it actively reshapes them. For women of colour, altering your appearance can feel like a way to reduce friction in a new environment. What\u2019s particularly insidious is how this plays out in less regulated spaces where vulnerability is exploited for profit.\u201d<\/span><\/p>\n<p><span>The authors agree that culpability lies not just with the beauty industry but with the society that enables it. \u201cWe think women need to look youthful because they look fertile and useful,\u201d says Tucker. When a woman doesn\u2019t care what men think of her, \u201cit suggests she might have some wisdom. That\u2019s unsettling to some.\u201d Wang, meanwhile, gives her protagonist Fanny a \u201cbadass\u201d spirit that prevents her being cast as a victim.\u00a0<\/span><\/p>\n<p><span>Tucker surmises that we remain trapped in the beauty industry\u2019s clutches \u201cbecause we don\u2019t want to look old.\u201d The industry, by this reading, is a mirror that reveals something far more uncomfortable about ourselves than crow\u2019s feet. Subject to these forces, the female body becomes a site of transaction in these novels: bought, sold, harvested, gradually collapsed. What they leave behind are questions less about beauty than power and patriarchal control: What are we so afraid of? And who exactly is profiting from that fear?<\/span><\/p>\n<\/div>\n<div id=\"newsletter-inline-last\">\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. You have been subscribed<\/p>\n<p><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>[analyse_source url=&#8221;https:\/\/www.dazeddigital.com\/beauty\/article\/69977\/1\/goop-horror-the-new-wave-of-literature-skewering-the-beauty-industry&#8221;]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/images-prod.dazeddigital.com\/1200\/0-0-1843-1229\/azure\/dazed-prod\/1390\/1\/1391609.jpeg&#8221;] The Substance (2024) March\u00a0 26,\u00a0 2026 Beauty \/ Beauty Feature Beauty \/ Beauty Feature Goop horror: The new wave of literature skewering the beauty industry Hot on the heels of films like The Substance, more and more novelists are grappling with the ugliness of beauty culture March\u00a0 26,\u00a0 2026 March\u00a0 26,\u00a0 2026 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[226,76],"class_list":["post-1848208","post","type-post","status-publish","format-standard","hentry","category-politics","tag-crawlmanager","tag-dazeddigital-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1848208","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1848208"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1848208\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1848208"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1848208"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1848208"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}