Fun home

Although we share an alma mater, Alison Bechdel is sufficiently older than me that when I first heard of her, she was already a realtively famous sensation, with a popular webcomic, which was soon to be followed by an eponymous test that would be cited in every feminist movie review for the rest of time. So, thinking about her as an unassuming child, forced into girly clothing was a little odd.

Usually, memoir (especially graphic memoir) is form over substance, as no one's real life is actually very interesting, but Bechdel's childhood may be an exception to that rule. Her early years are dominated by a gothic house, kept to exacting detail; a mortuary that seems to resurface in the narrative at particularly apropos moments and a relationship with her father that is largely dominated by F. Scott Fitzgerald allusions.

Bechdel drops hints along the way that she is not the most reliable of narrators, and I found that although Fun Home is ostensibly about her dad, it's mostly about how Alison Bechdel cast him as a foil in her own life, and then uses that to reinterpret her own.

I knew of Alison Bechdel from listening to the Galactic Suburbia Podcast, and knew of her particularly from the Bechdel test ( a rough rule of thumb for determining whether or not a creative work is gender biased). So on hearing that she was the headline act at the Comics Can Do Anything stream at Adelaide Writers Week I was determined to go and see her.

One of the best, most professional presenters I have seen in recent times. If you get the chance to attend a talk by her, regardless of whether you are interested in feminism or QUILTBAG issues or graphic novels, go. You won’t be disappointed.

Fun Home seems to have been the book that really launched Bechdel to the wider world. Previously she had been famous for her self syndicated comic strip Dykes To Watch Out For, which ran for some 31 years. While I certainly enjoyed the humour, the observations and the political commentary in Dykes to Watch Out For I can see why Fun Home reached a wider audience.

For a start it’s a memoir and a somewhat tragic one at that, which explores Bechdel’s life and her relationship with her father. People always seem drawn to a well articulated rendition of someone else’s misfortune or tragedy. But by and large it’s the choice of image, combined with Bechdel’s voiced over recollection that really made this work stand out for me. There’s a couple of stand out panels where the words and the image leave space for the reader to make connections, making for a subtle but powerful statement/impact on the reader.

There is a forward progression in the narrative but each chapter seems to pursue its own trajectory and as such it’s not a linear tale from early memory to Bechdel’s father’s death. It seems to me to more like sitting and listening/watching different aspects of the same tale. Bechdel following one thread of thought and imagery in one chapter and others in following chapters. In that sense we get a layering, an organic approach, which to my mind is possibly more akin to how our own memory works than the standard chronological recording that might organise your standard memoir

It might have been post festival blues, but reading Fun Home did seem to leave me with a palpable sense of melancholy. That to my mind is a momentous achievement in any text, to engage with the emotions of the reader.

Fun Home is a tragicomic, there’s sadness but there’s also recognition and love in all its diverse manifestations.

A slender group - only Kim and me and a new person, who happens to live in the apartments off the end of 28th Pl. (Of course, we were conflicting with Sherman Alexie's talk, so that probably drew a bunch of people off.) A graphic novel was a bit out of our collective comfort zone, but a graphic memoir was totally out there for us. This was a family unlike the ones that we'd had growing up. And thank God for that! Even if the kids were not abused, they were shown no love by either of their parents. (At least, none that Alison remembers, or that she chose to portray.) Her father was depicted as tortured (by his repulsion for his closeted sexuality, as she found out later) and her mother as deeply unhappy, long fallen out of love with her husband, and now trapped in loveless marriage in a small backwater. We suspect that his death was not a suicide. Which might make it worse, being a utterly senseless rather than his final attempt to take control of his life.