Posted at 11.04.2018
Ivory Coast is a west African country where homosexuality is not acknowledged. Even though it is practiced by way of a minority, they need to keep it secret. Fun Home is about identity. In a tragicomic shade, Alison Bechdel transcends two secrets in her autobiography. These secrets are about gender and individuality. Fun Home houses a special family, an old artificer Bruce Bechdel and his family. This family is not ordinary. After Bruce's fatality, which his child Alison, considers being a suicide, his homosexuality is learned. Alison thinks her father's suicide might be because of the declaration of her lesbianism. She has a common recent with Bruce; they both have been hiding the truth about their gender desire. Bechdel uses the art of allusion to describe a complex marriage between Bruce and Alison. She says, "In our particular reenactment of this mythic romantic relationship, it was not me but my father who was simply to plummet from the sky. " (Bechdel 4). Through this metaphor, Alison's situation is the unlike the real story, the daughter must have been the one to plunge. It is an unusual situation describing two people, where Bruce is a man and he desires men. Alison is a female but she prefers females. Physically and psychologically, Bruce and Alison experience distance. Yet, being gay they both possessed much in keeping.
Physically, Alison was faraway from Bruce. She starts off her autobiography with an image of herself with her dad playing the "Icarian Games". With this game, Alison reveals mostly of the physical connections with her daddy. The author alludes to her daddy as being both Icarus and Daedalus, an ultimate musician who considers his children as working materials. Bechdel says, "Daedalus, too, was indifferent to the individuals cost of his task" (Bechdel 11). This facet of the reserve shows the lack of affection establishing a difference between daddy and daughter. It also describes an elaborate relationship between both of these characters, characterized by an obstinate Bruce forgetting family love.
Not only physical, this detachment was also psychological. Alison early on suspects the sexual id of her dad. Seeing her daddy by using a bronzing stick was proof that he belonged to a new moral ethic from the norm. Bruce was gay but to help expand complicate the problem he preferred teenagers. Bruce got a secret relation with Roy, his yardwork associate/baby-sister. Both of these characters were complete opposite, Alison feeling comfortable with short hairs and male attitudes, sees her dad as a feminist. During an interview on the NPR radio, Bechdel says, "It's like one of the first things I recall is wanting to wear boys' clothes and struggling with my father about it. " (NPR). She was avoided from expressing her masculinity. Bechdel illustrates this aspect in a debate between Alison and her dad when Bruce says, "I don't service! Next time I see you without it, I'll wale you. " (Bechdel 97). Positioning his daughter from her wishes, Bruce creates more distance than there is already.
Despite being faraway Alison and her daddy show similarities, they both experienced a top secret. This disparity from Bruce pushes Alison into more knowledge of her father. Within the mission to reconstruct her father's record, many common aspects show up. Following the brutal fatality of Bruce, that Alison alludes as a 'queer in every sense of this multivalent term', she launched her father's technique. Bechdel stresses the detection of the secret by the sensual picture of Roy in the reserve. She says, "It's low-contrast and out of target. But the subject is evidently our yardwork associate/babysitter, Roy" (Bechdel 100). The picture has a double effect in the book. Certainly, it shows the data of Bruce's erotic identity but it addittionally characterizes the sexual longing of Alison. Watson in her research of fun home says, "The drawn photo is surrounded by elongated dialogue tags that chronicle Bechdel's conЇicted replies, acknowledging both her identiЇcation with her father's erotic desire to have the aesthetic perfection of the boy's body, and her distanced critique as a sleuth of the evidence of his secret life. " (Watson 41). Still in the 1970s homosexuality was to be concealed in the population. Bruce was keeping his erotic preference magic formula. Alison was at the same situation too. In the business visit to Philadelphia, they attained a woman dressed up such as a man who acquired a brief haircut. Alison was astonished, but when her daddy asked her if she wishes to be like this female, she solved "no". But her true answer would have been yes. She maintained her sexual identity secret.
Furthermore, the trick they each possessed, was about their individuality. Like Bruce, Alison was gay. She developed her masculine qualities early in her teenage years. Alison says, "Indeed, I needed become a connoisseur of masculinity at an early age" (Bechdel 95). At a young get older, she was a non-practicing lesbian. Yet she shares this same actuality with her dad. In a New Times article, Gustines says, "She's a lesbian, and sexuality looms large in her memoir. Bechdel's daddy, Bruce, was gay (as she places it: "a manic-depressive, closeted fag"), and "Fun Home" reaches its heart a tale about a princess trying to comprehend her daddy through the normal and unspoken relationship of the homosexuality" (Gustines). Naturally, Alison and her daddy had this personal information in common, they were both homosexuals.
In addition to posting a similar identity, Alison also acquired common pursuits with Bruce. Watson in the description of Bruce Bechdel says, "Bechdel's history about this is of Alison's child years recollections not only links back to you her sense of her own sexuality to her father's solution gay area, it also produces a acknowledgement about how precisely their lives are linked over decades" (Watson 42). From Watson's analysis, you can find this facet of their life that connects them. This connection is emphasized when Alison in Bruce's twelfth-grade category. These were so consumed by similar thoughts and readings that the category was mostly cartoon by only Alison. She says, "Sometimes it was as if Daddy and I were the only ones in the area. " (Bechdel 199). As if to verify their similar personal information, Bruce decided to bring his daughter to the film. Throughout their revelation one to another, Bechdel areas, "It had been similar to fatherless Stephen and sonless bloom" (Bechdel 221). This particular moment starts the hurdle between these two characters. For the very first time, they reveal unreservedly their sexual orientation.
In many places, especially in West Africa, it is almost impossible for homosexuals expressing their identity. The main topic of homosexuality continues to be taboo in a few parts of these countries. Through her book, both tragic and comic, Bechdel pulls attention concerning this particular subject matter. She stocks this theme about homosexuality symbolized through Alison and her dad. These characters struggling to make an strong connection. However, they talk about similarities. Certainly, this family is more difficult relation because dad and daughter show an identity not recognized. Fun Home comes out of the ordinary because it details a sensitive subject matter that concerns the complete society.
Bechdel, Alison. Fun Home: A Family Tragicomic. New York: Houghton Mifflin Harcourt, 2006. Print.
Gustines, George Gene. "'Fun Home': A Bittersweet Story of Father and Child. " The New York Times. THE BRAND NEW York Times, 25 June 2006. Web. 06 Mar. 2017.
"Lesbian Cartoonist Alison Bechdel Countered Dad's Secrecy WHEN YOU ARE Out And Start. " NPR. NPR, 17 Aug. 2015. Web. 06 Mar. 2017.
Watson, Julia. "Autographic Disclosures and Genealogies of Desire in Alison Bechdel's Fun Home. " Biography: An Interdisciplinary Quarterly, vol. 31, no. 1, Winter2008, pp. 27-58. EBSCOhost, search. ebscohost. com. libdb. dccc. edu/login. aspx?immediate=true&db=aph&AN=32022609&site=ehost-live. Web. 05 Mar. 2017.