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Fun home alison bechdel essay
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The graphic novel Fun Home: A Family Tragicomic was written by Alison Bechdel. The book is an autobiography about Alison Bechdel’s childhood. Throughout the book, Bechdel recounts her journey as she goes through adolescent life, struggling to understand her own identity and the identity of those close to her. Bechdel and her family would often use various artistic endeavors to express themselves instead of communication. Ultimately, this novel is about the unbearable isolation one can experience from a lack of affection and attention, and the effects it can have on one’s life. One of the most important pages in the entire novel is page 134. Page 134 has three different drawings featured on it and seven sentences. The first drawing shows young Alison Bechdel completely annoyed with her family’s obsession with their isolating artistic activities. She writes, “But it was all that sustained them, and was thus all-consuming” (Bechdel 134). Bechdel uses this drawing and sentence to illustrate to her audience how obsessed her family was with their art, which ultimately resulted in their seclusion from one another. Bechdel wants her readers to know beyond a doubt that her family has always been inaccessible to her, even from such a young age. As an introvert, I can …show more content…
For this drawing she writes, “From their example, I learned quickly to feed myself” (Bechdel 134). Here, Bechdel is telling her readers that due to her family’s “all-consuming” creativeness, she had to learn to take care of herself and become self-sufficient (134). This drawing is simply reiterating the effect that Bechdel’s inattentive family had upon her. This is an important theme in the novel that reappears again and again because it is such a central theme in Bechdel’s life. This subject matter makes me feel quite sorrowful for Bechdel due to her perpetual
On page 113 she tells her brother to call her a man's name instead of her name so that she could fit in as a boy, not a girl. “Call me Albert instead of Alison” (Bechdel 113). Whenever her brothers were looking at a naked women calendar Alison had the curiosity and need to look at it. That may have helped her realize that she was actually interested in women, not men. When she left for college she started to experience and putting in place her sexual orientation. She got a girlfriend which actually supported her during hard times in her life like her father’s
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 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
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.
As she sat at her work table she, “was drawn away,” by the screeching sirens outside her window. In this example, the author uses the word “was” as an indicator of her recollection of the events of that evening. The way they quickly grasped her attention reveals how focused she was on these specific occurrences surrounding her. We also notice how she is reflecting on the bad things that happen in society, yet we find ways to overcome them in order to continue to live our lives. In the following paragraphs, we see the judgment she has towards people who fail to consume themselves within the events happening around them. More specifically, we see her judgment towards the young man across the street who is so dedicatedly working on his table and in fact she wonders why he takes, “all those pains to make it beautiful?” She fails to understand his outlook on life by presenting us with a rhetorical question that she herself could not answer in the very moment. She fails to understand why and how a person can cherish life so deeply when his surroundings consist of nothing but chaos. As we continue to read through her essay we come across a moment that changes her perspective on the idea that people can quite possibly live a life that is consumed in something they love rather than the fear of
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 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.
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
The tableaux vivants scene in Edith Wharton’s House of Mirth is pivotal to the understanding of Lily Bart as a character. The passage not only highlights her precarious state in high-society, but it also contains one of the only instances where Lily feels truly comfortable and confident. Over the course of the description of Lily’s staging of her own tableaux, she goes from being a piece of art on display, to an artist carefully working to exhibit her own beauty. However, the contradictory reception from the audience to her intentions when her tableaux is presented, conveys her hubris in both her beauty and her ability to create visual representations of art. The scene concludes with, Gerty Farish, in response to seeing Lily’s tableaux, saying,
...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.
The personification of her home lets the author express old memories the house held and will never have again, she speaks of no one ever sitting under its roof, or ever eating at its table and how in silence will it lie. By personificating the house she reveals the emotional attachment people tend
This novel went into how she and her father both were similar in how they expressed and experienced their own identification in gender roles. Either it being shown in their own way or even it is being through one another, they did not realize how close they were until she understood herself at the end. This then became the opening to them discusses their life experiences that involved identifying with another gender, which made them gain a better understanding about each other. The reason why the readers gain this perspective was how she used this graphic novel technique to become concise and obtain a mutual understanding in what she was expressing and explaining throughout the novel. With this mutual understanding of how she made this graphic novel, then the readers can focus more on how in the beginning they thought they were very different people, but later on grew to understand that both choose different gender roles. This gave them many similar outcomes, which help them grow even closer than they were before. With that Bechdel stated at the end, “ He did hurtle into the sea, of course. But in the tricky reserved narrative that impels our entwined stories, he was there to catch me when I leapt.”, which suggest that even if he is gone in real life he is still a part of her life’s
When life turns into a living nightmare, a child may not know what is real nor what is fake, life may become confusing. In the excerpt A Death in the Family by James Agee, this is the unfortunate sequence of events. A Death in the Family follows the events and internal conflicts that are happening inside the 6 year old, Rufus when he finds out of the unfortunate and untimely death of his father. Rufus cannot believe that “My daddy is dead.” (Jewkes 88) and is seen in denial throughout; but the child is only thinking about his own feelings, and does not know how to cope. James Agee, the author of A Death in the Family also had the unfortunate series of events
Under the orders of her husband, the narrator is moved to a house far from society in the country, where she is locked into an upstairs room. This environment serves not as an inspiration for mental health, but as an element of repression. The locked door and barred windows serve to physically restrain her: “the windows are barred for little children, and there are rings and things in the walls.” The narrator is affected not only by the physical restraints but also by being exposed to the room’s yellow wallpaper which is dreadful and fosters only negative creativity. “It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide – plunge off at outrageous angles, destroy themselves in unheard of contradictions.”
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...