The narrator presents Nana as a woman who ruins a long string of men. Is Nana really responsible for all of these men’s ruination? Is she responsible for some, but not others? Why or why not?

Consider the motif of performance in the novel. Which character’s public persona is most performative, and why? Who performs their role the best, and why?

Does any of Nana’s behavior cross a line and become actually inexcusable? If so, why? If not, why not?