I also want to make the point here, right?

I mean, I feel like my rendering of events just now might give the impression that I'm more on,

you know, Team Larson and, you know, and the Dorland is the bad art friend.

But there's some other details here as well.

I mean, as the piece makes clear, you know, this story that Larson wrote,

drawing heavily on the details from Dorland's kidney donation, you know,

there's a character in the story. And as it's described in the piece, white, wealthy, and

entitled, The Woman Who Gave Chintow, this is the character in the story, her kidney is not

exactly an uncomplicated altruist. She's a stranger to her own impulses, unaware of how what she

considers a selfless act also contains elements of intense,

unbridled narcissism. It's a pretty mean-spirited caricature, and it clearly is based on

her impression of what Dorland, her art friend, was doing and had been doing and kind of seeking

approval for this kidney donation. Furthermore, she kind of has her own spin on the story, which is that it is

itself a Rorschach test. It is kind of a version of the dress for racial awareness. She's a writer of a

mixed race background, and this is something that, you know, in her own kind of, you know, self-description,

she brings to a lot of her own work and things like that. And I have to say, I mean, I'm not, I'm still not entirely clear on how the story

is supposed to be a Rorschach test for racial awareness, but what she did also seems quite,

you know, mean-spirited. Yeah, I've not read the short story because I've been just trying to live my life.

But apparently, yeah, the New Yorker reviewed it.

And they said that it was interesting because the actual short story is,

according to this particular reviewer, very unn nuanced and like decidedly, very negative

towards the Dawn Daulyn character.

...