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Notes -
I probably end up thinking more like you on this, but to try and steelman BahRamYou's point, you have to take into account what was the likely mindset the story was written with. It's from the #MeToo era, written by a lesbian writer, in The New Yorker, and it depicts a man as a villain, in a way that even seems to go against most of the story itself. What are the chances that Roupenian thought: "that's what men are truly like, they're children who become nasty and wound you when you don't want to have (more) sex with them"? I think it's quite possible. It's also possible she didn't think so and just wrote the story that wanted to write itself using random details of a relationship she heard before, and despite harbouring no ill will towards men in general decided right at the end to turn the guy into a total asshole. Maybe she thought it would help the story get picked up, or maybe she just made a bad writing decision, or maybe I'm wrong and in decades we'll be looking back at this story and decide she made the best literary choice by doing this heel-turn. We'll likely never know because it's not quite as fashionable to admit having this kind of prejudice against men now as it was when the story was written. But it's almost impossible for me to think that it's not the reason The New Yorker picked it up. If prejudice against men was intended, it does make the revelation that it's based on a story where the man wasn't at all like that seem intellectually dishonest. Prejudice can be understood and forgiven if it's driven by experience or ignorance, but it's much harder to explain and forgive if the person did actually know better.
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