Complications in terms of AKM and women as Plot Devices

I think my analysis has provided some interesting complications in terms of feminist readings of AKM, particularly in the assertion that Anne's affair with Talos is staged so that Warren can fulfill the noir formulaic.  Anyway, my discussion of this point proceeds as follows: 

In terms of possible feministic readings of AKM, reflexive masochism, as I’ve appropriated it in this work, excitingly complicates Wilson’s and Ferriss’s analysis of role of female characters, particularly Anne Stanton, in terms of plot construction. Certainly, Wilson’s work in “Medusa, the Movies, and the King’s Men,” offers astute insight into the role of Sadie Burke, but both Wilson and Ferriss seem to comprehend Anne Stanton’s agency in her affair with Talos as a fathomless lacunae with the rationale behind her choice withheld by Warren in order to configure her into the fallen symbolic order prerequisite to the restorative questing of the typical noir, male protagonist.  True, the narrator allows Anne no voiced reason as to why she went to Talos other than he wasn’t like anybody she’d ever known, but this doesn’t tell us much and disappointingly limits any further understanding of Anne’s motives to Burden’s interpretation.  However, if we consider that AKM isn’t just Talos’s story, but Burden’s story too, we must understand that the entire tragedy of this text can be attributed to Burden’s inability to have sex with Anne when she first made herself available so many years ago.  If the younger, college-boy Burden had the moral certainty and self-mastery as Adam Stanton, then he would’ve gone through with it, they would’ve been married, and Adam wouldn’t have been killed after assassinating Talos.  Though this certainly doesn’t lend anymore agency to Anne in her affair with Talos that seemingly drops out of nowhere, it doesn’t put the blame on her shoulders.  Accordingly, in the grander sense of this novel’s telling, the narrating, heterodiegetic Burden, absorbs all these injuries in the telling because it’s his ultimate inability to be a man and sexually consummate his love with Anne that subsequently sparks the tragedy of the entire novel.  Furthermore, the narrating Burden relives each injury and takes the fault on himself according to the reflexive masochistic framework previously delineated.  As Silverman suggests, Burden, in taking on more than his share of responsibility—as Cass Mastern—he multiplies and deepens his own suffering in order to “aggrandize the self” in which such “martyrdom effects a primarily personal “triumph,” and produces in the ostensible sufferer a “mood of enlargement” (Silverman 327).  Ultimately, the whole of AKM can be seen as an apotheosis of Burden’s newfound virility where he becomes master of himself in the wake of Willie’s death.