![]() ![]() Thus, the recursive nature of Bechdel’s narrative, chronologically fragmented by the use of repetition, allows Bechdel to re-examine her relationship with her father in terms of the mythic metaphor she applies to it.īruce’s sudden death before Bechdel can begin exploring her relationship with him leads to her having to find means to understand his identity after his death. This pivotal moment divides the text into two parts, and allows Bechdel to revisit and re-characterize her relationship with her father in the second part after she has already characterized it in the first part. As she tries to look at the picture through Bruce’s eyes, she feels connected to him. At the centerfold of Fun Home, Bechdel places a two-page spread of a photograph of her babysitter Roy, taken by her father, which she comes across after Bruce’s death. However, when Bechdel finds out that her father is a closeted gay man, she tries to understand her open lesbian identity in relation to his identity, realizing that the mythic metaphor does not actually hold. During her childhood, there seems to be constant friction between Bechdel and Bruce and she applies the Daedalus-Icarus metaphor to depict her relationship with her father. A significant aspect explored by Alison Bechdel in Fun Home is her relationship with her father, Bruce. ![]()
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