The abrupt ending to a promising story in current New Yorker

The story by rising star French writer Leila Slimani in current New Yorker (leave it to the NYer to "doscover" a writer who's already a best-selling author on 2 continents), The Confession turns out to be a story w/ so much promise but w/ little delivery. The promise: The story is narrated by an older man (we don't know how old) looking back on a shameful episode in his youth. At 16, his prosperous father sent him to a mountain village (setting is Morocco) to experience the hardship of life; the boy feels like an outsider in the village, but one day the village strongman brings him along on some field work, cutting grass for fodder I think. Along comes a young woman who has been ostracized from a near-by village; the strongman encourages the young man to attack the woman and have sex with her; the young man obliges, but w/ lots of guilt and shame. Then we just forward in time. So many things could happen! Does he ever meet anyu of the characters again in life? Does he take on some kind of penance? Do we learn more about the other characters in any way? Does this shameful action ruin other relationships in the man's later life? Is he haunted or obsessed in some manner? But actually all we get is a paragraph describing his life in college at which he drank copiously and then a nightmare in which he dreams that he is being carried in a horse-drawn carriage and the driver beats the horse to death (this is a familiar trope in Dostoyevsky, btw). I actually hate stories that use a dream as a resolution. Yes, there's a haunting moment at the end of the story when the narrator opines that everyone has shameful secrets; probably so, though the shame in this instance is or should be on the extreme end of the spectrum, just short of murder. This man's life and his shame are beyond the typical, and I expected more developments, more of a conclusion, rather than an abrupt and conventional wrap-up that leaves us, or me anyway, shrugging my shoulders and wondering if Slimani thinks "they all do it."