Nevertheless, in ILD we get page after page of the protagonist complaining about being the eternal plus one to her academic husband, whose success she resents despite that this, and some real estate investments, is what allows her to pursue a productive life of experimental film making. It's a hard life, and in between attending cocktail parties with her horribly supportive husband, Kraus often goes off on theoretical tangents, invoking the names of great vanguard theorists and artists, while juxtaposing her own 'debasement' and 'abjection' to the lives of third-world revolutionaries and people who've experienced 'actual' political violence. Or, you know, women with 'actual' dicks for husbands who rape and/or beat them. Only at the end of the novel to learn that 'objectification', 'subjection', 'debasement', 'abjection' and all the other art-school feminist catch-phrases to describe the evil that men do, is really just code for the Dick in question not giving the author the attention she feels she is due. Wow. I've always sympathised with the feminist movement and have no love for pussy grabbing douche bags, but reading ILD has opened my eyes to where certain MRAs are coming from. ---> reāli jāizlasa, lai saprastu, vai tiešām ir TIK slikti