In Allison Bechdel’s Fun Home, Bruce Bechdel’s home restoration efforts are a recurring theme, and the details of his actions do not go unnoticed by young Allison. He is obsessed with perfection, but cannot break the belief in his daughter’s mind that his actions are not innocent, that there is a darker secret behind his drive. Understanding Bruce’s homosexuality and femininity gives light to the source of his obsession with restoration: Bruce’s laborious restoration both expresses and conceals his culturally unacceptable self-identity. Bruce’s restoration work’s femininity is not overlooked by his daughter. The floral patterns within the house and the immaculate garden are markedly feminine, as she writes “What kind of man but a sissy could …show more content…
When Allison pondered the work, Bruce “began to seem morally suspect long before I knew that he actually had a dark secret” (Bechdel 16). To hide this from public view, “he used his skillful artifice…to make things appear to be what they were not.”(Bechdel 16). Bruce cannot allow any hint of his homosexuality to appear. Lorber explains “Gendered norms and expectations are enforced through informal sanctions of gender-inappropriate behavior by peers and by formal punishment…should behavior deviate too far from socially imposed standards for women and men”(142). This is directly observed in that when Bruce is instructed to receive counseling in court, “a whiff of the sexual aroma if the true offense could be detected in the sentence” (Bechdel 180). In the knowledge that “as a result of our institutional and symbolic statuses, all of our choices become political acts” (Collins 75), Bruce hid his homosexuality, “appeared to be an ideal husband and father” (Bechdel 17). In his home, “the meticulous period were expressly designed to conceal (his shame)” (Bechdel 20). He knew that he could not practice his homosexuality, so he hid it in shame behind the façade of embellishments. Yet even his daughter perceived “They were lies” (Bechdel 16). Collins writes “While a piece of the oppressor may be planted deep within each of us, we each have the choice of accepting that piece
Both Vanity Fair and A Room of One’s Own explore and challenge the idea that women are incapable of creating a name and a living for themselves, thus are completely dependent on a masculine figure to provide meaning and purpose to their lives. Thackeray, having published Vanity Fair in 1848, conforms to the widely accepted idea that women lack independence when he makes a note on Ms Pinkerton and remarks “the Lexicographer’s name was always on the lips of the majestic woman… [He] was the cause of her reputation and her fortune.” The way that a man’s name was metaphorically “always on the lips of the majestic woman” and how he was the source of “her reputation and her fortune” expresses this idea, especially through Thackeray’s skilful use of a sanguine tone to communicate that this cultural value, or rather inequality, was not thought of as out of the ordinary. From viewing this in a current light and modernised perspective...
Life for most homosexuals during the first half of the Twentieth century was one of hiding, being ever so careful to not give away their true feelings and predilections. Although the 1920s saw a brief moment of openness in American society, that was quickly destroyed with the progress of the Cold War, and by default, that of McCarthyism. The homosexuals of the 50s “felt the heavy weight of medical prejudice, police harassment and church condemnation … [and] were not able to challenge these authorities.” They were constantly battered, both physically and emotionally, by the society that surrounded them. The very mention or rumor of one’s homosexuality could lead to the loss of their family, their livelihood and, in some cases, their lives. Geanne Harwood, interviewed on an National Public Radio Broadcast commemorating the twentieth anniversary of the Stonewall Riots, said that “being gay before Stonewall was a very difficult proposition … we felt that in order to survive we had to try to look and act as rugged and as manly as possibly to get by in a society that was really very much against us.” The age of communist threats, and of Joseph McCarthy’s insistence that homosexuals were treacherous, gave credence to the feeling of most society members that homosexuality was a perversion, and that one inflicted was one to not be trusted.
Bechdel addresses some points that we see in today’s world regarding fatherhood and homosexuality, and Fun Home: A Family Tragicomic, does a very good connecting those points with today’s society. Overall, she was able to understand and come to conclusions about things that she never understood while growing up. It was not until Bechdel was a little older and her father had passed away, that she realized that her father had a funny way of showing love. “But in the tricky reverse narration that impels our entwined stories, he was there to catch me when I leapt.” (Bechdel 232) The fact that that Alison’s father, Bruce, and herself were hiding their homosexuality and living a life that was far from normal, she was able to realize that the way her father was present in her life at that time, had to do a lot with gender role confusion, not knowing who he really was or accepting the truth leading him to his death. Besides the fact that her father never really showed much affection towards her, she still knew that her father cared in his own
In the memoir, Fun Home, Alison Bechdel effectively depicted her life as a child all the way up to age nineteen when she finally decided to come out to her family. Growing up Alison’s path crossed paths with struggles that try to hinder her while she attempts to grasp on to the identity of being homosexual. Even though Bechdel encounter struggles she is able to overcome those struggles in a supportive environment. Despite her father, Bruce Bechdel homosexuality, which was unknown to Alison for the majority of her life could possibly be the emotional core of Fun Home. In actuality, it is Alison 's personal coming out party that assists her mother, Helen Bechdel, to expose Bruce 's hidden relationships to Alison. Effectively, the process of writing the memoir has really permitted Bechdel to reminisce about her father through the spectacles of her experiences, later giving her the chance to reveal clues about her father 's undercover desires that she was incapable of interpreting at the moment. In a scene where Bruce takes his openly queer daughter to a gay bar embodies the dissimilarities amongst Bruce and Alison 's attitudes of dealing with their homosexuality. Bruce tussles with the shame of hiding his
In an attempt to become more like her father she tries emulate him, as he tries to make her become anything but him. As she develops, she becomes more aware of masculinity and acutely aware that her father doesn’t fit the definition. Bechdel sees men at gas stations and on television and realizes that her father is missing something that those men seem to have. In her endeavor to counteract his femininity, she becomes more masculine. Although, even at a very young age, Bechdel doesn’t show interest for feminine things. Alison seems to be oblivious to all of her father’s attempts. In this image the reader sees Bechdel analyzing all of men at the gas station. Alison drew this frame to show her readers what it was she was noticing when she was young. The men in this image are more built than her father, they dress in more casual clothes with tattoos and chew tins. However, she doesn’t seem to pay attention to the ad of the Sunbeam Bread in the background with the image of Miss Sunbeam. It is as if Alison wants her readers to know that she was given chances to evaluate what girls her age should be like but she was more interested in knowing what men were like. She was often seen in gender neutral clothes, with a boyish haircut and as she got older, her father became more direct with his wants for her to dress like a girl; she resented having to wear skirts, dresses, or accessories and
Bruce, an “Old Father, Old Artificer,” uses his art form as a way of whitewashing his past memories and faults. The exclamation of the woman shows the extent her father has covered up the truth. He has put many unneeded items and decorations in the house, distracting people that visit. Alison likes things functional, while Bruce likes things very elaborate and over the top, not needed. These decorations have made people confused from what is there and what is not.
Bruce runs a funeral home and restores his families old victorian home as a personal hobby and passion. Behind the “perfect” family facade you will find that Bruce is a deeply troubled man. He struggled as an adolescent with his sexual identity and carried the anger and frustration this caused into his adulthood. This created issues in his marriage and caused him trouble connecting with his children. In this book we see how a child who is growing and developing is repeatedly subjected to rejection, outburst of anger, and isolation by her father and the effect it has on who she becomes. As you read Fun House you can see Bruce display BPD symptoms and how it effects his relationship with his wife and
In Alison Bechdel’s Fun Home, Bechdel uses the theme of appearance versus reality to highlight her relationship with her father. Bechdel utilizes her illustrations and short sentences to reveal these things about herself and her father. Bechdel opens her memoir with a chapter entitled “Old Father, Old Artificer”. Bechdel refers to her father, Bruce Bechdel, as an artificer because she sees him as a skilled craftsman. Bechdel describes, “His greatest achievement, arguably, was his monomaniacal restoration of our old house.” (Bechdel 4). Her father restored their old house to make it look like a huge mansion. Bechdel knows that this is just the appearance of their household because it is not an accurate representation of their family life inside the house. Bruce created an appearance that was the opposite of reality to cover up the actual wealth of their family. He hides the fact that his family may not be as wealthy and perfect as they appear to be. In this case, Bruce reveals he believes that appearance is more important than the reality of a situation. Appearance is also important on the inside of the home as well. Bechdel mentions, “Sometimes, when things were going well, I
In chapter one, “Old Father, Old Artificer”, of her graphic novel Fun Home: A Family Tragicomic, the young Bechdel generated her identity through the tensions and mysteries that engulfed her family the home. Masculinity, physical strength and a modern outlook were her personality traits as she grew, becoming the “Butch to [her father’s] Nelly” (269) and his opposite in several aspects. A conscious effort was made on her part to set her own pace from what her father expected of her. He was a strong, influential figure within her life. Expressing emotions towards her father was strictly not allowed in the home. Bechdel was left “rushing from the room in embarrassment” (273) on the one unforgettable occasion that she went to kiss him goodnight. She...
...within her household. Within her own household, Alison was uncomfortable of being herself; in fact, at times she felt that she almost had no say in the selecting items such as clothes. This was also quite complex when it came to her subjectivity as well. Instances such as the time Bruce wanted Alison to wear a particular dress to a wedding, or when he insisted for her to were a particular set of pearls, would play a pivotal role in her sexual self development. Other factors such as her relationship with her girlfriend and the news she would find out following her fathers death seemed to also play an important part. Alison Bechdel’s battle in her sexual self-development was one full of anguish and pain because of all of its complexities but she now presents the confidence in herself and her sexuality to present in her eloquent and impactful graphic novel, Fun Home.
In Fun Home: A Family Tragic Comic, Alison Bechdel uses the graphic novel technique of bringing visuals and concise text to her audience to reveal the relationship with her father in a perspective that can not be modified through the readers perspective and interpretation. Bechdel employs this type of writing style to help visualize a better interpretation of how she describes the differences in both her and her fathers’ gender roles throughout the novel. This tactic helps discuss and show how these gender roles were depicted as opposite from one another. But, in this case being opposite from one another made them gain a stronger relationship of understanding and reviling that these differences were actually similarities they also shared.
Every family has secrets. Taboo secrets are typically the one's we'd like to keep hidden the most. Unfortunately, what's done in the dark always finds itself resurfacing to the light. In Allison Bechdel "Fun Home", she recollects the memories that impacted her life the most when she was in the stage of discovering her true self. The memories we remember the most tend to play a major role in our life development. For Allison, one well-kept secret that her father contained well from her, unraveled many memories of the truth that laid before her eyes.
In Alison Bechdel’s graphic novel entitled Fun Home, the author expresses her life in a comical manner where she explains the relationship between her and her family, pointedly her father who acts as a father figure to the family as she undergoes her exhaustive search for sexuality. Furthermore, the story describes the relationship between a daughter and a father with inversed gender roles as sexuality is questioned. Throughout the novel, the author suggests that one’s identity is impacted by their environment because one’s true self is created through the ability of a person to distinguish reality from fictional despotism.
From the beginning of this work, the woman is shown to have gone mad. We are given no insight into the past, and we do not know why she has been driven to the brink of insanity. The “beautiful…English place” that the woman sees in her minds eye is the way men have traditionally wanted women to see their role in society. As the woman says, “It is quite alone standing well back from the road…It makes me think of English places…for there are hedges and walls and gates that lock, and lots of separate little houses for the gardeners and people. There is a delicious garden! I never saw such a garden—large and shady, full of box-bordered paths, and lined with long grape-covered arbors with seats under them.” This lovely English countryside picture that this woman paints to the reader is a shallow view at the real likeness of her prison. The reality of things is that this lovely place is her small living space, and in it she is to function as every other good housewife should. The description of her cell, versus the reality of it, is a very good example of the restriction women had in those days. They were free to see things as they wanted, but there was no real chance at a woman changing her roles and place in society. This is mostly attributed to the small amount of freedom women had, and therefore they could not bring about a drastic change, because men were happy with the position women filled.
"I imagine that, if in the long run, your choice turns out to be a serious one, I could live with it, but I truly hope that this does not happen. There are dangers that your idealistic outlook seems not to have faced." (Bechdel 77). This was because her mother, Helen knew Bruce was having gay affairs with teenage boys and was shocked to have another homosexual person in the family. If she was okay to live with her husband and her daughter to be homosexual, she would not have thought of a divorce with Bruce.