Explore the ethical complexities of Dunham’s authorial ethos that “everything is copy” (157), inherited from Nora Ephron. Using the examples of Tiny Furniture’s origins and the controversy surrounding Not That Kind of Girl (2014), analyze how the memoir portrays the line between artistic creation and personal violation.

Trace the evolution of the relationship between Lena Dunham and Jenni Konner. How does their dynamic function as a microcosm of the power imbalances, codependency, and blurred personal and professional boundaries Dunham experiences within the wider entertainment industry?

Analyze how Dunham uses her physical body, particularly her uterus, as the primary text for narrating the trauma of fame and the performance of womanhood.

To what extent does Dunham’s narrative support her central argument that fame is the cause of her “sickness”? Does her journey through rehabilitation ultimately suggest a cure, or simply a remission?

Analyze how the narrative is a testimony against medical gaslighting. How does Dunham’s decade-long struggle for a diagnosis for her chronic pain parallel her fight to have her psychological suffering from fame taken seriously by others?

Analyze how hotels function as symbolic spaces that chart the progression of Dunham’s fame.

The memoir identifies several ways Dunham performs womanhood: for professional success, for male approval, and by feigning wellness. Analyze the relationship between these different performances and discuss what the memoir suggests is the cumulative cost of such constant self-construction.

What does a comparison between Dunham’s biological parents (Laurie Simmons, Carroll Dunham) and her professional “parents” (Jenni Konner, Judd Apatow) reveal about her narrative search for guidance and protection?