By the end, at least, he recognises his own juvenility: “It turns out that relationships don’t require sacrifices. Ingrid is the “otherworldly” angel, while almost every other woman is described in a sexualised way. It’s also there in his attitude to women. Not just in his phobia of commitment - “one of the most terrifying and obscene words in the English language” - but in his insecurity, apparent both in his frequent name-dropping and his “need” to sleep around. There’s something of the man-boy about Strauss. There’s a drug-fuelled orgy where Strauss falls asleep and ends up spitting chocolate into his date’s hand an attempt to build a harem where the women regress to childhood, jealously bickering over who gets the front seat in the car and sex with a woman while her husband watches and gives a running commentary. He then explores alternatives to monogamy in a series of tales so unsexy the Church should circulate them to promote marital fidelity. New West End Company BRANDPOST | PAID CONTENT.
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