|
BOBC |
 |
 |
 |
|
Thomas, Héloïse. "Fun Homes and Queer Houses of Memory in Alison Bechdel’s Graphic Memoirs." Text and Image in Women's Life Writing. Picturing the Female Self. Eds. Valérie Baisnée-Keay, et al. Palgrave Studies in Life Writing. New York [etc.]: Palgrave Macmillan, 2021. 101–17. Added by: joachim (2/20/22, 2:26 PM) Last edited by: joachim (2/20/22, 2:27 PM) |
 |
| Resource type: Book Chapter DOI: 10.1007/978-3-030-84875-0_6 BibTeX citation key: Thomas2021 Email resource to friend View all bibliographic details  |
Categories: General Keywords: "Fun Home", Archive, Autobiography, Bechdel. Alison, Gender, Memoria, USA Creators: Alexoae-Zagni, Baisnée-Keay, Bazin, Bigot, Genty, Thomas Publisher: Palgrave Macmillan (New York [etc.]) Collection: Text and Image in Women's Life Writing. Picturing the Female Self |
Views: 8/1372
|
| Attachments |
| Abstract |
|
This chapter examines Allison Bechdel’s first graphic memoir, Fun Home (2006), with additional material from its follow-up, Are You My Mother? (2012), and the prologue from The Essential Dykes to Watch Out For (2008), arguing that through the use of a queered mode of representation, Bechdel’s autobiographical narratives create queer “houses of memory,” (Jean-Pierre Wallot), as the vantage point from which to reconsider the childhood “fun home.” Her autobiographical narratives queer graphic memoirs specifically, through their visual/verbal hybridity, their non-linear approaches to temporality, and alternative constructions of the narrative around the self. They open a space where the vast archive of one’s life can be explored on the author’s own terms, apart from normative frameworks. The graphic memoir thus materializes a queer/ed home, rooted and mobile, a refuge against the processes of othering, objectification, marginalization, and exclusion endured by the author, a lab where the self is ceaselessly disassembled and recomposed, an archive that articulates the personal and collective aspects of queer and lesbian identities.
|