Hijuelos provides a revealing look into the economic realities underlying many heterosexual relationships, which helps to address potential criticisms of his novel. Some might mistakenly view the novel as anti-woman due to Cesar's frequent sexual escapades that degrade women. At his most self-indulgent, Cesar reduces his partners to mere objects intended to offer him sexual relief from his emotional distress, and these women's portrayals do not surpass that superficial depiction. Certain female characters are depicted merely as collections of body parts or through explicit descriptions of sexual acts. The one-dimensional nature of these portrayals can be irritating, particularly in the novel's early sections. However, at some point, readers come to understand that these women are presented through Cesar's perspective, not Hijuelos's, and that Cesar suffers consequences for his insensitive behavior toward them. Despite having a daughter, Cesar consistently refuses to embrace monogamy and family life, forcing him to continue his role as a Romeo until his dying days or face solitude. This results in repeated humiliations. Some are minor, like when Lydia makes him wait for a date—something he wouldn't have tolerated in his youth. Others are significant, such as the deep shame he feels when he pressures Lydia into granting sexual favors against her will due to her aversion to his physical appearance. Through Cesar's story, Hijuelos illustrates the profound alienation and loneliness that can stem from a lifetime of adhering to traditional macho ideals.