The graphic memoir format added an extraordinary dimension to the story. Moving on to the second panel, one can see a typical family scene depicted. And here's how my relationship goes with people who are chronically, unendingly smart usually goes. I'll make a small commission! Fitzgerald and Shakespeare figure as does Proust. Worse, the pictures don't even match the text.
Furthermore, though the figures are stylized, the color scheme of her outfits, her body shape and hunched posture clearly identify the main character whenever she appears. Like Marjane Satrapi's Persepolis, it's a story exhilaratingly suited to graphic memoir form. This section contains 1,174 words approx. At the same time it erases the possibility that coming out of the closet prompted her mother to ask for the divorce, moved to escape a sham marriage by her own daughter's unwillingness to play along with convention. Certainly I never mistake people's hands for kitchen implements, but nor does it move beyond serviceable. This also becomes a metaphor for Alson's home as the story progresses: only here, it is the souls which are given such cavalier treatment. And I'm not talking about lowbrow or predictably canonized books, either; we've got Icarus and Dedalus, Camus's A Happy Death, The Great Gatsby, Proust, The Wind in the Willows, Henry James, and Ulysses.
Stray notes tucked in between the last page and the backcover of a magazine recovered years later, journals, hand-written letters, favorite paperbacks, the only bit of literary criticism he published, heaps of carefully organized notes that he prepared for his classes, tapes containing his voice recordings cooing at your tiny baby form and anecdotes recounted by the ones who knew him better and longer than you did become coded roadsigns to some secret location promising complete de-mystification. Her compositions similarly fail to employ white or negative space, and the final product feels impossibly bland. And considering that it was such a big focus here, I was left out of the loop a lot, which ended up lowering my enjoyment while reading. Fun Home's a stolid sort of the graphic nature, but I've spent so much time amongst the atrocious anatomies drawn in the name of heteronormativity that Bechdel's rigorous attention paid towards proper proportion and physically possible flexing is a skill in and of itself. This is a fearful image, full of crossing lines, and dark shodows. I've been meaning to read this since it came out six years ago, and just finally got around to it. Each panel would look different.
Alison writes and draws as if she is still putting together the pieces as she does so, and closes the book with the impression that the story is not over. The artist's work is so absorbing you feel you are living in her world. It seemed to almost push away emotion with vocabulary and reference, and it felt very cold to me. If anybody has lived through having their bathroom or kitchen remodeled--you know personally what the disruption feels like. Generally this is where graphic narratives stumble. Its universality comes from its awareness of how we never fully know even those closest to us, and of the undercurrent of grown-up secrets, intuited by children, that exists to some degree in every family. Fun Home answers both of these questions for me, plus a third larger one about what the point is of being alive.
I found the story touching in some ways, and emotionally distant in others, and I can't decide if the latter was intentional or not. His arrival home from work cast a cold pall on the peaceable kingdom where Mom, Christian and I spent our days. This is like a literary fiction novel tucked into a graphic novel. Suggestion: If you have not read this book, know 'nothing' about it. This breakout book by Alison Bechdel is a darkly funny family tale, pitch-perfectly illustrated with Bechdel's sweetly gothic drawings.
Additionally, the fact that the Alison and her siblings were disallowed from honestly telling their dad how he looked is indicative of the repressive nature of the entire household. Bruce, manically engaged in a new restoration project, tries and fails to find a way to hold his life together. But his daughter does not dwell on the possibility. . Som Updated This is a terrific book. Through narrative that is alternately heartbreaking and fiercely funny, we are drawn into a daughter's complex yearning for her father.
Fun Home is thoughtful, challenging, and most of all, a pleasure to read. However, this whole book felt more like a project of self-analysis than a commercial product. Bruce and Helen had been living in Europe, but the death of Bruce's father forced them to return stateside to take over the Bechdels' funeral home business which is the inspiration for the memoir's title. Also, Alison notes that her diary entries became more and more untrustworthy, until she eventually stopped writing in it at all. His daughter believes his death was a suicide, brought on in part by her own confession.
And here's how my relationship goes with people who are chronically, unendingly smart usually goes. When Alison comes out as homosexual herself in late adolescense, the denouement is swift, graphic — and redemptive. By the time the reader reaches this frame, the sentiment it evokes will seem almost out of place. Or in another image, full page, she compares a picture of her father at twenty-two to a picture of herself at twenty-one. There, he courted Helen by exchanging letters with her. In this snapshot, re-drawn and recreated with painstaking detail by the author, a young Bruce Bechdel stands shirtless and lissome in front of his home, eyes trained directly at the reader.
To me, the truly interesting thing about this test isn't how many movies utterly fail it. Underlying the basics of the work's plot are questions of genre and representation. Bechdel's as a is complicated by the revelation that Bruce was a closeted homosexual whose extra-marital affairs included underage males. Alison considers the connection between her coming out and her father's death. Bechdel intrigues me because not only can she do that, but she can tell her own story in that format. I appreciated how literature helped fill some of the voids in both Alison and her father's lives, and it was also what ultimately drew them together.
Furthermore, this chapter takes its name from Oscar Wilde's play about political corruption and the tension between public and private identity. The album was released in May 2015. But it's not clear how much credit we are to give to this narration, and how much the point of the narrative is to expose its own tenuousness. While Alison is at Beth's house, she finds out that Bruce has been arrested for picking up an underage boy named in the next valley. Hidden away with blindfolds and earplugs? A psychologically complex, ambitious, illuminating successor to the author's graphic-memoir masterpiece. After a long day, Small Alison, Christian and John settle into sleeping bags. As a child, Bechdel always sensed something was off about her father.