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. Allison and her father shared so many of the same qualities; that you'd think they'd have a tight knit relationship with one another. Looking at Allison father you'd think he'd have it all together, but in actuality he's torn living a life full of lies and not his true self. Which always revert to him living in the past. Their home is set up as comfort zone for her father to express his sexual identity. Going through this comic you find yourself looking at many innocent objects she uses to describe the way her house is set up. She refers to it as a museum. As we discover her dad sexual orientation, we find many of the objects resembles body parts. Other things like the painting of the …show more content…
The lilac flower is meant to be in remembrance of an old love. Her father is so adamant on having their home to be designed in this certain time era, where men did things that would be consider really feminine without being labeled or ridicule by people in society. His work expressed himself thoroughly in ways no one would really understand him, if only they were in his shoes. For Allison this was all new to her. Unlike her father who knew he was homosexual around her age and didn’t act on it as much as she did. She experimented just as he, but she didn’t hide it after she was fully aware she was a lesbian, unlike her
Each woman in the Dead family is associated with their own wilted flower, which is significant because the flowers exist out of oppression and lack of affection. Before it is clear in the story that Macon and Ruth do not love each other, the flowers that Ruth interacts with beforehand serve as a precursor for the dead romance that is to come. Morrison notes the flower arrangement on Ruth’s dining table, which “once exposed, behaved as though it were itself a plant and flourished into a huge suede-gray flower that throbbed like fever.” The “suede-gray flower” is an artificial fabric flower associated with Ruth reveals that she is deprived of love. By following the life cycle of the “grey-suede flower,” the reader can understand the evolving position that Ruth has had in her home. When the flower was alive, her father was also with her, so she would communicate with her husband and dictate the matters of the household. When the flower was alive, Ruth and Macon were somewhat more in love. Macon was also kept quiet. As the flower weakens and dies, we see Ruth’s strength, independence, and love life dwindling and dying. Thus, it is clear that a
Alison Bechdel wrote Fun Home as a memoir so that people understood the impact her father had on her. She went into great detail in this memoir about her childhood and moments after her father’s death. Which she claims her dad was a suicidal. During the memoir, she describes her relationship with her father. All issues, lessons, and arguments she had with her father are really significant to her. She uses her relationship with her father as the main point in the memoir. Their relationship had its ups and downs but she had very strong feelings for her father. Even though her father did not treat her as a girl most of the time, she managed to get over the fact of her father’s behavior.
To begin, the flowers represent the racism and prejudice that lies within the tight community of Maycomb, Alabama. One instance of the flowers being used as symbolism is when Camellias
In the beginning, the author explains how this young girl, Lizabeth, lived in the culturally deprived neighborhood during the depression. Lizabeth is at the age where she is just beginning to become a young woman and is almost ready to give up her childish ways. Through this time period she was confused and could not quite understand what was happening to her. In the end she rips Miss Lottie’s marigolds among the ugly place in which she lived. The marigolds were the only things that make the place a bit beautiful to the eye. In this scene the marigolds represent the only hope the people had for themselves in this time of depression. This could reveal how the author has experienced a loss of hope in times of need. In her explanation of how Lizabeth had torn up the flowers and destroyed all hope in that time of depression, might explain that she has also destroyed hope in a time of pain and grief. Later she writes, “And I too have planted marigolds.” This could mean she has learned from her experiences and that she has finally found hope and always tries to seek the good within the bad and the ugly. On another note, it could mean she just wants to act out on something, but she can’t, so she writes about her...
Flowers can be seen to represent emotions that are felt when opressions on women are seen. Poisonous flowers represent the determination that these women use to find a better life in this society
Flowers are incredibly important, especially in the novel To Kill A Mockingbird by Harper Lee. There are three main flowers pointed out in the course of the whole story. There are Miss Maudie’s azaleas, Mrs Dubose’s camellias, and Mayella Ewell’s geraniums. Each bloom was assigned in this way solely for the relation towards their corresponding characters. Flowers can be used to express emotion or send a message, and those associated with Maudie, Dubose, and Mayella are vital to the novel.
In the graphic novel Fun Home, by Allison Bechdel, sexual self-discovery plays a critical role in the development of the main character, Allison Bechdel herself; furthermore, Bechdel depicts the plethora of factors that are pivotal in the shaping of who she is before, during and after her sexual self-development. Bechdel’s anguish and pain begins with all of her accounts that she encountered at home, with her respective family member – most importantly her father – at school, and the community she grew up within. Bechdel’s arduous process of her queer sexual self-development is throughout the novel as complex as her subjectivity itself. Main points highlight the difficulties behind which are all mostly focused on the dynamics between her and her father. Throughout the novel, she spotlights many accounts where she felt lost and ashamed of her coming out and having the proper courage to express this to her parents. Many events and factors contributed to this development that many seem to fear.
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.
In the movie, The Divine Secrets of the Ya-Ya Sisterhood, Callie Khouri directs something of a powerful story between a mother and her daughter. The movie Life as a House (Wrinkler, 2002) tells something of the same; of a father and the fight for the love of his son. The two movies both portray the fight between parents and their children. The commonality between father and son and mother and daughter is portrayed through the troublesome children and the problems that they face together. The “abuse “ that these children have received has formed them into the people they are today. What these characters had become is something that they do not want to be. As we age, we begin to discover the importance of family as depicted through Life as a House and The Divine Secrets of the Ya-Ya Sisterhood.
As the poem progresses, the flower blooms underneath the touch of the man, representing that their passion for each other allows her spirit to bloom just as a flower does. Philip Jason notes the effectiveness of Williams’ metaphor to Queen Anne’s lace, writing, “…it is mainly through metaphor that he transforms his observation, his still life, into a dynamic field of action that reveals the life and energy hidden.” Just as Jason proves, the metaph...
In John Connolly’s novel, The Book of Lost Things, he writes, “for in every adult there dwells the child that was, and in every child there lies the adult that will be”. Does one’s childhood truly have an effect on the person one someday becomes? In Jeannette Walls’ memoir The Glass Castle and Khaled Hosseini’s novel The Kite Runner, this question is tackled through the recounting of Jeannette and Amir’s childhoods from the perspectives of their older, more developed selves. In the novels, an emphasis is placed on the dynamics of the relationships Jeannette and Amir have with their fathers while growing up, and the effects that these relations have on the people they each become. The environment to which they are both exposed as children is also described, and proves to have an influence on the characteristics of Jeannette and Amir’s adult personalities. Finally, through the journeys of other people in Jeannette and Amir’s lives, it is demonstrated that the sustainment of traumatic experiences as a child also has a large influence on the development of one’s character while become an adult. Therefore, through the analysis of the effects of these factors on various characters’ development, it is proven that the experiences and realities that one endures as a child ultimately shape one’s identity in the future.
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.
John Steinbeck uses symbolism to give alternate meanings to his short story “Chrysanthemums.'; A symbol is a device used to suggest more than its literary meaning. He uses these symbols to look further into the characters and their situations. The character Elisa has a garden, which is more than just a garden, and the chrysanthemums that she tends are more than just flowers. There are actions that she performs in the story, which also have other meanings.
The couple spent the summer together and developed the meaning of true love. One evening, Noah takes Allie, to an old farmhouse, tells her his dream of buying and restoring it one day, she tells him she wants to be a part of that dream, she wants the house white, have blue shutters, a wrap-around porch, and wants a room that overlooks the creek so she can paint. With all the excitement the two lost track of time and when she returned home she found out her parents called the police; her parents forbid her to ever see Noah again. Allies parents did not approve of the social differences in the teens upbringing. Allie’s mother moved her away to New York, for her to forget Noah, and interact with people of her social lifestyle at college.
Roses are present in the garden, as they are “the only flowers that impress people” (Mansfield 2581). Mrs. Sheridan orders so many lilies that Laura think it must be a mistake, saying “nobody ever ordered so many” (Mansfield 2584). Satterfield says, “the flower imagery throughout the story serves to keep the reader reminded of the delicacy of Laura’s world. The flowers are splendid, beautiful, and-what is not stated- short-lived.” He goes on to say that Laura “can see only the beauty and not the dying of the flower, and she cannot see that, in many ways, she is very much like a flower herself.” The delicate life of the Sheridan’s is one that must come to an end. It is beautiful like the flowers, but also like the flowers, it will eventually die. As Darrohn puts it, “the Sheridans operate under the illusion that their easy life is natural… rather than produced through others’ labor.” This idea too can be illustrated by the flowers in the story. The roses that fill the gardens are the work of the gardeners who have “been up since dawn” (Mansfield 2581). It seems to Laura that “hundreds, yes, literally hundreds [of roses] had come out in a single night… as though visited by archangels” (Mansfield 2581). The reader can see through the flowers that the Sheridans have a rose-colored view of how their lifestyle