Kirsten, August 17, 2006 (view all comments by Kirsten)
Alison Bechdel is best known for her long-running Dykes to Watch Out For strip, which has been a fixture in the LGBT press for more than fifteen years. Now she turns her talents to the more explicitly autobiographical with this book, which tells the story of her father and her childhood. Bechdel's father was an agonizingly careful man who dressed with care and spent every moment of his leisure time restoring the family's Victorian-era home. At the same time as he was assembling such a careful front, he was leading a hidden life, parrallel and yet divergent from Bechdel's own. Bechdel's voice in this memoir is sad yet wry, and the book is funny and poignant by turns, and her clean, careful artwork melds seamlessly with the story. At times this book can feel somewhat reserved in comparison to other, more exuberantly drawn and told comic memoirs, but it suits the subject matter to a T.
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Carriehintz2, July 28, 2006 (view all comments by Carriehintz2)
A strikingly intelligent and literate memoir chronicling Bechdel's deeply ambivalent relationship with her father. He is an aesthete, a pederast, and the strongest and most enigmatic influence in young Bechdel's life. She strives to forge her own identity while navigating the aspects of his personality that they share-- both positive and negative. Though the subject matter is serious, Bechdel's wry tone and dark humor make it a lively (and occassionally downright funny) read. I was slightly dissatisfied with the final frame which suggests a perfunctory resolution that comes too easily and does not hold true to the conflicted tone of the rest of the book. Other than that a lovely read and one I highly recommend.
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"Publishers Weekly Review"
by Publishers Weekly,
"This autobiography by the author of the long-running strip, Dykes to Watch Out For, deals with her childhood with a closeted gay father, who was an English teacher and proprietor of the local funeral parlor (the former allowed him access to teen boys). Fun Home refers both to the funeral parlor, where he put makeup on the corpses and arranged the flowers, and the family's meticulously restored gothic revival house, filled with gilt and lace, where he liked to imagine himself a 19th-century aristocrat. The art has greater depth and sophistication than Dykes; Bechdel's talent for intimacy and banter gains gravitas when used to describe a family in which a man's secrets make his wife a tired husk and overshadow his daughter's burgeoning womanhood and homosexuality. His court trial over his dealings with a young boy pushes aside the importance of her early teen years. Her coming out is pushed aside by his death, probably a suicide. The recursively told story, which revisits the sites of tragic desperation again and again, hits notes that resemble Jeanette Winterson at her best. Bechdel presents her childhood as a 'still life with children' that her father created, and meditates on how prolonged untruth can become its own reality. She's made a story that's quiet, dignified and not easy to put down." Publishers Weekly (Starred Review) (Copyright Reed Business Information, Inc.)
by Kirkus Reviews (Starred Review),
"Bechdel's memoir offers a graphic narrative of uncommon richness, depth, literary resonance and psychological complexity....The results are painfully honest, occasionally funny and penetratingly insightful."
by Booklist (Starred Review),
"Bechdel's long-running Dykes to Watch Out For is arguably the best comic strip going, and Fun Home is one of the very best graphic novels ever."
by Entertainment Weekly,
"[S]plendid....More than the witty art, more than the mordant prose, it is this openness that distinguishes Bechdel's generous and intelligent work....[I]t has a depth and sweetness few can match at five times the length. (Grade: A)"
by Sean Wilsey, The New York Times Book Review,
"A pioneering work, pushing two genres (comics and memoir) in multiple new directions... Bechdel's rich language and precise images combine to create a lush piece of work — a memoir where concision and detail are melded for maximum, obsessive density."
by Douglas Wolk, Salon.com,
"[R]iveting....Fun Home is a beautiful, assured piece of work, by far the best thing Bechdel has done in over two decades as a cartoonist....Bechdel's cartooning has transmuted his life and death into an extraordinary book..."
by Minneapolis Star Tribune,
"[A] revelation: Here is a panel-and-drawings book that feels like a true literary achievement, something with characters who baffle and disappoint and break hearts the way people do in life and in the best of prose."
by Amy Bloom, author of A Blind Man Can See How Much I Love You,
"If David Sedaris could draw, and if Bleak House had been a little funnier, you'd have Alison Bechdel's Fun Home."
by Harvey Pekar, author of American Splendor,
"Alison Bechdel — she's one of the best, one to watch out for."
by Chip Kidd, author of The Cheese Monkeys,
"Stupendous. Alison Bechdel's mesmerizing feat of familial resurrection is a rare, prime example of why graphic novels have taken over the conversation about American literature. The details — visual and verbal, emotional and elusive — are devastatingly captured by an artist in total control of her craft."
by Dorothy Allison, author of Bastard Out of Carolina,
"Brave and forthright and insightful — exactly what Alison Bechdel does best."
by Portland Oregonian,
"The year's best (graphic) novel is brilliantly conceived and fearlessly executed, and you will not soon forget your journey through it."
by Jill Soloway, Los Angeles Times,
"At times, Bechdel's prose gets a little opaque — not because she's a bad writer, but because I didn't pay attention in high school....Fun Home is an intricate document of a childhood that, ultimately, was enough like mine — only with a few more literary references — that for me, it worked."
by San Francisco Chronicle,
"Bechdel's drawing style is simple but effective."
by Sean Wilsey, New York Times,
"A comic book for lovers of words! Bechdel's rich language and precise images combine to create a lush piece of work."
Cartoonist Ellen Forney explores the relationship between andldquo;crazyandrdquo; and andldquo;creativeandrdquo; in this graphic memoir of her bipolar disorder, woven with stories of famous bipolar artists and writers.
Shortly before her thirtieth birthday, Forney was diagnosed with bipolar disorder. Flagrantly manic and terrified that medications would cause her to lose creativity, she began a years-long struggle to find mental stability while retaining her passions and creativity.
Searching to make sense of the popular concept of the crazy artist, she finds inspiration from the lives and work of other artists and writers who suffered from mood disorders, including Vincent van Gogh, Georgia Oandrsquo;Keeffe, William Styron, and Sylvia Plath. She also researches the clinical aspects of bipolar disorder, including the strengths and limitations of various treatments and medications, and what studies tell us about the conundrum of attempting to andldquo;cureandrdquo; an otherwise brilliant mind.
Darkly funny and intensely personal, Forneyandrsquo;s memoir provides a visceral glimpse into the effects of a mood disorder on an artistandrsquo;s work, as she shares her own story through bold black-and-white images and evocative prose.
In this groundbreaking, bestselling graphic memoir, Alison Bechdel charts her fraught relationship with her late father. In her hands, personal history becomes a work of amazing subtlety and power, written with controlled force and enlivened with humor, rich literary allusion, and heartbreaking detail.
Distant and exacting, Bruce Bechdel was an English teacher and director of the town funeral home, which Alison and her family referred to as the "Fun Home." It was not until college that Alison, who had recently come out as a lesbian, discovered that her father was also gay. A few weeks after this revelation, he was dead, leaving a legacy of mystery for his daughter to resolve.
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