An abrupt ending to a story in the New Yorker

Lionel Shriver is one of those writers I'd heard of, maybe read some reviews about or by, and whom a friend has strongly recommended that I read - but never did so until this week's New Yorker story, Kilifi Creek. Story shows her obvious talent - two of the scenes in particular are very powerfully written and so intense I just rushed through reading to see what would happen - talking about the swim in the creek and the rooftop party. She does a fine job sketching in the main character in the first page or so, an 20-something American woman on an adventure in Africa, palling about with other footloose travelers and ex-pats, sponging off some wealthy people to whom she had an entree - and Shriver also captures the essence of the wealthy older couple forced to play host to this traveler whom they don't know. In other words, the story is full of tensions and promises. Does it make good on all of them? Not quite - but enough that I would look forward to reading more of Shriver. The big scene - the swim in the creek - ends rather abruptly and suddenly, and Shriver hurtles us through the next 15 years of the woman's life, to a point where she is now living in Manhattan, with an executive job, but still unattached - and hanging on to her adventures as "stories," the narrative of her life. Then she meets a guy she seems to like. I will not give spoilers here - except to say that this story seems loosely based on an item in the news in the past year - and - though the story has a definite conclusions, there is a difference between the ending of a story and the resolution of  a story, and Shriver does not really resolve the issues raised, just ends them.