A memoir done in the form of a graphic novel by a cult favorite comic artist offers a darkly funny family portrait that details her relationship with her father--a funeral home director, high school English teacher, and closeted homosexual.
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Alison Bechdel’s Fun Home: A Family Tragicomic has quickly joined the ranks of celebrated literary graphic novels. Set in part at a family-run funeral home, the book explores Alison’s complicated relationship with her father, a closeted gay man. Amid the tensions of her home life, Alison discovers her own lesbian sexuality and her talent for drawing. The coming-of-age story and graphic format appeal to students. However, the book’s nonlinear structure; intertextuality with modernist novels, Greek myths, and other works; and frank representations of sexuality and death present challenges in the classroom. This volume offers strategies for teaching Fun Home in a variety of courses, including literature, women’s and gender studies, art, and education. Part 1, “Materials,â€ outlines the text’s literary, historical, and theoretical allusions. The essays of part 2, “Approaches,â€ emphasize the work’s genres, including autobiography and graphic narrative, as well as its psychological dimensions, including trauma, disability, and queer identity. The essays give options for reading Fun Home along with Bechdel’s letters and drafts; her long-running comic strip, Dykes to Watch Out For; the Broadway musical adaptation of the book; and other stories of LGBTQ lives.
Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In Graphic Subjects, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman’s Maus, David Beauchard’s Epileptic, Marjane Satrapi’s Persepolis, Alan Moore’s Watchmen, and Gene Yang’s American Born Chinese. These essays, accompanied by visual examples, illuminate the new horizons that illustrated autobiographical narrative creates. The volume insightfully highlights the ways that graphic novelists and literary cartoonists have incorporated history, experience, and life stories into their work. The result is a challenging and innovative collection that reveals the combined power of autobiography and the graphic novel.
The Fun House by Tom Bissinger is a rollicking tale of coming of age in the sixties and seventies. Based on the childhood thrills he experiences at the fun house at Playland in San Francisco, Tom comes to understand that making fun houses and exploring those of others would become the defining quest of his life. He’s brought up in privilege, and like his father who had at one time performed on Broadway, Tom’s drawn to the theater. After boarding school and his immersion into a repertory theater company while attending Stanford, he lives in Paris then enlists in the army then moves to New York, and we are at the birth of the sixties, erupting like a bombshell, and Tom is there to celebrate and be open to the Golden Age of New York theater while simultaneously weaving the momentous events of that era into his story: assassinations, civil rights marches, and the Vietnam War. Sexual experimentation and drugs follow Tom as he ricochets through love affairs, directs plays, and marches in Selma. He moves to Philadelphia in 1969 to become the artistic director of the Theatre of Living Arts. In 1970, Tom abandons the legitimate theater and reinvents himself on Philly’s South Street. Tom paints emotionally vivid portraits of neighborhood characters who hang out in Tom’s new fun house: eccentric old-timers, newly minted hippies, artists, dopers, and a murderer. In 1977, Tom, his wife, Kristen, and their two-year-old travel for nine months as nomads: they live with Samoan families, spend two months on a fifty-foot trimaran in Fiji, live at Papunya Aborigine settlement in Australia, fall into a drug smuggler’s den in Bali, and end up in an ashram in Sri Lanka before returning home as the book ends.
Reality TV can be murder in the Jersey Shore mysteries from the #1 New York Times–bestselling author of the Mr. Lemoncello’s Library series. What if a reality TV show like Jersey Shore set up production in the fictional seaside resort Sea Haven? What if hitting the gym, tanning, and doing a little laundry aren’t the only things the contestants get into? By-the-book officer John Ceepak and his wisecracking young partner, Danny Boyle, have to babysit the buff and boozy kids partying it up in a Jersey shore rental house for TV’s summertime hit Fun House while simultaneously trying to stop the rowdy kids from breaking the law up and down the beach. But even Ceepak and Danny can’t stop one young cast member from being murdered—and others from being threatened with the same fate.
Seminar paper from the year 2018 in the subject Literature - Modern Literature, grade: 3,0, University of Erfurt, course: Literature in images: Graphic Novels, language: English, abstract: A lot of graphic novels work with Intertextuality, because as a visual medium they can represent or quote another text even better than a normal novel. Alison Bechdel's Fun Home is a prime example of those graphic novels that use intertextuality. Her memoir is full of pop culture and book references. My thesis is that the literary works and stories she has woven into her story mirror her own story and exist to further illustrate her struggles coming of age.
"When her father dies unexpectedly, graphic novelist Alison dives deep into her past to tell the story of the volatile, brilliant, one-of-a-kind man whose temperament and secrets defined her family and her life. Moving between past and present, Alison relives her unique childhood playing at the family’s Bechdel Funeral Home, her growing understanding of her own sexuality, and the looming, unanswerable questions about her father’s hidden desires. Fun Home is a refreshingly honest, wholly original musical about seeing your parents through grown-up eyes."--
Literary Nonfiction. Growing up queer in the deep South, Genevieve Hudson longed for stories about lives like her own. So she turned to Alison Bechdel's groundbreaking graphic memoir, FUN HOME. In its panels, she found sly references to Bechdel's personal influences. A Little in Love with Everyone is Hudson's journey down a rabbit hole of queer heroes like Audre Lorde, Eileen Myles, and Adrienne Rich, who turned their stories into art and empowered future generations to embrace their own truths. This book is part of a new series from Fiction Advocate called Afterwords.
As we grow older, our need to be engaged in interesting activities does not diminish and is vital to our quality of life. How to Make Your Care Home Fun examines the need for activities for elderly people in care and offers a practical programme of entertaining activities that can be used in nursing and residential homes, day centres, rehabilitation centres and hospices. As well as suggesting a programme of activities for older people in care homes including arts and crafts, role-playing, gardening and cooking, it also takes the stance that 'activity nursing' should be integral to all personal care plans and not simply regarded as an add on to medical care. The author also examines how care homes are run and regulated in the light of recent legislation and considers the services provided by care homes and areas of potential deficiency. The book offers a wide selection of activities that can be used with people of all abilities and have greatly improved quality of life for elderly people in care. Highlighting the value of nursing that caters for an individual's physical, mental and emotional needs, this book is an ideal resource for care home professionals and anyone who is responsible for the well-being of elderly people in care.