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Fun home alison bechdel analysis
Fun home alison bechdel analysis
Fun home alison bechdel analysis
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Alison Bechdel’s beautiful graphic novel Fun Home explores the cause and effect relationship that exists between her late father Bruce’s sexuality and his internalized homophobia and disapproval of her own budding sexuality throughout her young life. The book defies the natural chronological order of most novels by revisiting key points in her life multiple times, each instance from a slightly different viewpoint, or revealing vaguely different information. Because of this, we are shown her coming out three times throughout the novel, even though in one chapter it isn’t explicitly stated. Each time, though, is slightly different, because we are shown a different person’s reaction or point of view on the announcement. The themes of each chapter
At multiple points throughout the chapter, frames depict the pair arguing over what clothes Alison should be wearing, especially to attend more formal events. She liked to wear more traditionally masculine clothes, and wasn’t allowed by her family, making her feel as though she was an anomaly, until she saw the butch lesbian at the luncheonette. Seeing this woman dressed in a masculine fashion was her first glimpse into a style that she could actually imagine herself wearing – and liking. Her father tears down the young girl’s immediate idolization of the woman by questioning whether or not she wanted to look like her in a tone that implied his disapproval. In this chapter, Alison also comes across a few photos from a past vacation that hint at her father’s sexuality. These photos feature Bruce and Roy, their old babysitter, wearing little or no clothing. He had hidden those memories in the same way that he repressed his homosexuality – not very well. They gave a glimpse into the life he could’ve, and probably wanted to, live. This section of the book does not explicitly show Alison coming out, as chapters 3 and 7 do, but there are subtle implications of her sexuality throughout it, like showing her at age 19 in a lesbian bar, or reading Women in the Shadows on the subway.
Alison’s relationship with her father was crucial for her to discover that she was a lesbian. Her father had so many weird gestures and actions that made her figure out he might be gay. On page 5 of the book, he said: “Wash these old curtains so we can put up the hand-embroidered lace ones I found in Mrs. Strump’s attic” (Bechdel 5). That kind of comments made him seem weird not directly homosexual but not what a heterosexual man should have said. After his death, she found out from her mom that he had affairs with men in the past. This made Alison realize that she
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
Fun Home shows how as the reader we can become educated and heal from the stories like that of Alison Bechdel’s childhood. We also can see Alison’s journey of healing as well. This full circle journey is why literature is so versatile and important to our society and culture. We depend on the creation and growth of literary themes like the ones we see in Fun House to help us grow and deal with the real world.
In Tony Kushners to part play, Angels in America, readers are introduced to a closeted gay man, Joe Pitt and are exposed to his relationship with his Mormon mother, Hannah. An underlying conflict occurs when Hannah finds out her son is a homosexual; a problem which forces her to question her love and acceptance towards her son and her strong Mormon anti gay sentiments and beliefs. This conflict between mother and son helps Kushner illustrate the complexity of sexuality and the changing views of homosexuality.
Elizabeth Montgomery was an American actress who lived from 1933 to 1995. Of her five decades of work in the entertainment industry, her most renowned role was as Samantha in the comedic-fantasy TV series Bewitched which aired from 1964 to 1972. During the period when Americans were experiencing trying events such as the assassination of President John Kennedy and the civil rights movements, Samantha’s magical powers and almost perfect life served as a means for the stressed public to periodically dismiss reality. In real life, Elizabeth Montgomery was an empowered activist. However, this paper will explore the influence of social and cultural aspects in regards to gender and women’s leadership roles as observed through the character Samantha, which Elizabeth Montgomery developed and brought to life.
Alison is clothed in silk, which is an expensive material that is not commonly worn by carpenter’s wives. Silk was used for the embroidery. on Alison’s smock, headband and the tassels on her purse. These References to the richest and smoothest materials hint at the attractive body underneath the sleeve All in all, the Millers are very successful in parodying the Knight’s. tale.
...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 Fun Home, Alison principally characterizes her desire for a masculine life while trying to find herself in an environment
Sex Wars; a title provocative enough to garner not only a second look when encountered on an overcrowded bookshelf, but undoubtedly a perfunctory lift from the shelf and a superficial perusal. If you do delve deeper into the novel by Marge Piercy you come to see that Sex alludes to gender and the relationship between men and women; not just the act. War denotes power, agency; a struggle to gain it, fought in our own cities not on some far off shores. It isn't peculiar that Marge Piercy would devote over four hundred pages to such a struggle. A prolific author of poetry, fiction and non; Piercy, a staunch feminist, always "examines women's roles, especially those traditionally relegated to men." in her work. (Unknown) Sex Wars does that as well as illuminates the unique experience of goal-oriented women in a patriarchal society and the hardships that misogyny imposes on women and society as a whole. All of that is done in a historical context and the fact that the novel is so rich in detail, historical and otherwise, and so intricately woven together, if not a historian, you are left wondering what was real and what was fiction.
Ha Jin is a very talented writer. He uses first person narrative, setting, and personal appeal to show his readers that cruelty and judgment against homosexuals is not needed in today’s society. He uses these three things to show that the criticism in this book is taken to an extreme. These aspects along with many others create a story that readers are not only interested in, but can relate to as well.
In the face of a homophobic society we need creative and critical processes that draw out the complexity of lesbian lives and same sex choices, not a retreat into the comforting myths of heroines and unfractured, impeachable identities