An Interview with Alison Bechdel

@article{Chute2006AnIW,
  title={An Interview with Alison Bechdel},
  author={Hillary Chute and Hillary L Alison Bechdel},
  journal={MFS Modern Fiction Studies},
  year={2006},
  volume={52},
  pages={1004 - 1013}
}
Alison Bechdel's Fun Home: A Family Tragicomic takes place in the tiny, rural town of Beech Creek, Pennsylvania, and meditates on her closeted father's suicide in 1980 (a few months after Bechdel herself came out as lesbian). It provoked an enormous critical response upon its publication in June 2006. The book also received the kind of public admiration that few literary graphic narratives since Maus have garnered: Fun Home earned a spot on the New York Times bestseller list, and two separate… 
Closing the Gap in Alison Bechdel’s Fun Home
Alison Bechdel's 2006 memoir, Fun Home: A Family Tragicomic, makes a strong and explicit claim for the power of graphic narrative as witness. Employing the straightforward visual style developed over
Drawing the Archive in Alison Bechdel’s Fun Home
TLDR
Alison Bechdel's Fun Home is juxtaposed with other prominent graphic memoirs such as Maus and Persepolis to show how its queer sensibility extends their treatment of the relation between individual and historical experience, so central to secondgeneration witness, especially through a more pronounced focus on sexuality.
Reading Lessons in Alison Bechdel's Fun Home: A Family Tragicomic
Alison Bechdel's award-winning graphic memoir, Fun Home: A Family Tragicomic , has been widely recognized for its literary sophistication. Themes familiar in the memoir genre—the author's
Mirrored discourse in Alison Bechdel’s Fun Home
In their introduction to Modern Fiction Studies’ 2006 special issue on graphic narratives, Hillary Chute and Marianne DeKoven direct attention to the unique powers of the genre’s layered language of
Drawing on Modernism in Alison Bechdel’s Fun Home
When Alison Bechdel’s graphic memoir Fun Home: A Family Tragicomic came out in 2006, the striking literary quality of the narrative was noted from her first reviews. Bechdel’s memoir is positioned at
The Pleasures of Reading in Alison Bechdel's Fun Home
Fun Home includes allusions to and graphic representations of several kinds of texts—masterworks of literary modernism and Realism, classics of homoerotic fiction and autobiography, coming-out
In the Queer Archive: Fun Home
This essay examines figures of archives in Alison's Bechdel's 2006 memoir Fun Home—the museum-like family house, the father's home library, Alison's childhood diary, and the public libraries she
Du côté de Fun Home: Alison Bechdel Rewrites Marcel Proust
This article reads Alison Bechdel’s Fun Home (2006) as a rewriting of Proust’s In Search of Lost Time. Drawing on Gilles Deleuze’s assumption, which interprets In Search as a complex exercise in
Modernism, Memory and Desire: Queer Cultural Production in Alison Bechdel’s Fun Home
Using what Barbara Christian has called the technique of “rememorying”—the deliberate reconstruction of memory to void fixed categories—Alison Bechdel’s Fun Home: A Family Tragicomic expands the
Queer Trauma, Paternal Loss, and Graphic Healing in Alison Bechdel’s Fun Home: A Family Tragicomic
In this essay, I investigate the representation of inter-generationally transmitted queer trauma and paternal loss in Alison Bechdel’s graphic memoir, Fun Home: A Family Tragicomic, arguing for the
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