Fun Home: A Family
Tragicomic
Alison Bechdel
The art of reading and
recommending books is difficult; the most lauded books can seem unutterably
dull, a critical misfire can be a transformative reading experience, or a work
can be important primarily in context, both respective of genre and of
publication place and time. Why the obnoxious preamble? Graphic novel novice as
I am, I recently re-discovered Fun Home,
which had been recommended to me years ago by a professor for reasons I have
since forgotten. The book is almost universally lauded by critics as a potent
memoir and a poignant example of personal graphic fiction. Nor can I argue with
these points. The subtle quasi-blue color palette replicates the haze of memory
while providing a grounding sense amidst Bechdel's artwork, which itself tends
toward the cartoony side. Despite Bechdel's drawing skill and her easily
identifiable (and endearing) characters, however, the illustrations often feel
more like illustrations than distinct building blocks on which to base a story.
Some enhance the text or provide valuable counterpoint and punctuation to
Bechdel's straightforward, powerful prose, but many simply hang listless on the
page, seemingly there as a matter of course rather than necessary literary
purpose. A number of these, particularly early on, have in-panel labels that
could seemingly have been better handled- they usually butt in and distract
from the images' internal coherence and their (sometimes already strained)
relationship with the script. Bechdel certainly can't be faulted for
constructing what is very obviously an intensely personal narrative in her
preferred form, but the finished product may not best exemplify the advantages
of graphic narrative, despite its importance (as I understand it) within the
genre.
What is admirable is the verve
with which Bechdel confronted and took control over her own powerful,
confusing, and sometimes painful memories. Her use of recurring themes and
overlapping, recursive storytelling lend to the feeling that readers are
present alongside the author as she relives the memories, though the seeming
necessity of implicit knowledge hampers readers' ability to immediately enter
the narrative. Though Fun Home may
not be the most effective union of illustration and text, Bechdel's work is
clearly important in establishing that graphic novels can employ the same rich
layers of metaphor and meaning as more widely respected forms of literature. The
stories are grouped into thematic, occasionally repetitive, groupings that carry
their themes well and related well to one another. With this territory,
however, comes the occasional pretension and referential self-congratulation that
haunts literary fiction. Well-intended and well-executed metaphors appear
throughout the book, but the whole thing goes a bit off the deep end when
Bechdel brings in ungainly references to Ulysses
throughout the book's final chapter. Literature and myth are focal points
throughout the novel, and Bechdel's decision to use the Icarus myth to open and
close the story is majestic, but the references to Ulysses are baffling at best and the least flattering kind of
pretentious at the worst. Like much of Joyce's writing, the allusions are annoying
and impenetrable, intruding in on what is otherwise an intellectual, yet
accessible, work. The book, characters, and story are engaging and, at times,
as universal as they are deeply personal. There is no question that Bechdel has bared her soul within its pages, but Fun Home is at times hampered by its own
ambitions and over-thinking.
No comments:
Post a Comment