Please let me hate you

Welcome back, superficiality! The novel is a modern love fable, complete with all its ingredients: the little Cinderella, in the guise of an angry, progressive young woman; Prince Charming, albeit independent and career-driven; the clash between bourgeois values and the aristocratic sphere, all set in the modern London of investment banking.
The protagonist, who also serves as the narrator of the tale, is Jenny.
Born into a vegan, animal-rights, pacifist, and anti-capitalist family, Jenny pursued a career as a tax attorney—not entirely betraying her native values (she is merely a vegetarian!), but choosing to forge her own life, one that does not simply mirror the family tradition.
She has fashioned a self-image as a strong, “all brains” woman, drifting through failed romances with cultured, “left-wing” men adored by her family, but not by her.
At the investment bank where she works and is held in high esteem, she has been waging a years-long “war” with Jan, the scion of a highborn lineage—brilliant, yet vain, arrogant, and obnoxious.
Jenny must concede that he is a charming man, yet Jan’s background, his demeanor, and the competitive streak driving the young woman fuel a genuine hostility toward the handsome aristocrat.
In an altercation that has since become notorious, Jenny, impetuous by nature, went so far as to break Jan’s noble nose.
Working together is therefore out of the question.
Yet a high-profile client insists on being represented by both, forcing them, much to their dismay, to “be a team.”
Predictably, the “magical attraction” Goethe speaks of in Elective Affinities triumphs over differences in temperament, ideology, and social standing, as well as over their mutual competitiveness.
Jenny and Jan find themselves in situations of escalating physical proximity: an accidental touch that nonetheless sends strange vibrations, a staged kiss (to spite Jan’s admirers), a kiss that is no longer staged, culminating in physical intimacy.

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The “armor” the girl has forged for herself dissolves like a wave in Jan’s arms. But if she did not want to be won over by her Prince Charming, why, when going out with Jan, does she let her friends convince her to dress provocatively and sensually? The ending is a foregone conclusion: the two marry in a lavish ceremony (500 guests).
The young woman asserts her “proletarian” spirit by foregoing the veil, yet agrees to wear her husband’s splendid family jewels.
A fitting compromise between socialist ideals and aristocratic ones!

The novel’s primary virtue lies in its style: delicate, ironic, understated.
The narrative relies fundamentally on dialogue, punctuated by Jenny’s sensations rather than reflections.
And it is precisely the lightness and elegance with which the author depicts the young woman’s gradual surrender to the allure of the senses that constitutes the novel’s pleasantly engaging element.
A pity there is no suspense: everything is entirely predictable, devoid of twists or genuine moments of rupture in a narrative plot far too weak to captivate.
Another missed opportunity is the setting.
The world of investment banking, with its ruthless rules of career advancement and competition, remains relegated to the background; indeed, at times, it verges on the implausible—one need only consider the boss, far too understanding to be real.

Why read it? If one is in need of lightness, it makes for a pleasurable read.