Fun
Home, by Alison Bechdel takes an introspective look back
on various life events which have effectively shaped her understanding of her
father, her emotions, and the world.
Bechdel realized the nonconformist nature of both her father and his relationship to the family home from a young age, and this perspective of her
father only grew more complex with time.
Their father Bruce uses the family home as his personal canvas in which
to manifest his insecurities and vices in a composed and articulated
manner. The first exposure to Bruce
reveals highly atypical behavior, a finely tuned knack for interior design and
the overwhelming urge to micromanage every usable square inch of space present
in the house. Bechdel describes that
from an early age her father’s behavior and attitude toward his projects within
the house were passionate, as well as the work of a martyr. This iconic description is coupled with a
striking black silhouette of their house juxtaposed against an almost religious
image of her father hunched over wearing only shorts carrying a carved piece of
lumber on his back (Bechdel 14).
Bechdel viewed space
within the house not as belonging to the family, but as an extension of her
father. Every turn in the house left you face to face which one of his
carefully created bourgeois projects ranging from chandeliers reminiscent of
French bordellos, to aging mahogany chippen-dales. Bruce Bechdel was obsessed with the illusion
of luster. He invested himself fully in
the pursuit of restoring the house back into the gleaming Victorian era house
it was no longer. Manipulating the
appearance of items within the house to portray some sense of false imagery
became a central motif in deciphering Bruce’s own psyche. Troubled by the demons of his past, he
strives to create a sense security in his home, and in public by playing the
role of the “ideal husband and father”.
When in reality, his private life exposes a stark contrast accompanied by the occasional sherry-sipping young male who finds their way into the charade of the Bechdel
library.
Through scenes in the family house, it becomes
apparent that Bechdel’s father felt if he did not actively manage every aspect
of life inside the house, he had no control at all. This may be due to Bechdel’s father being
motivated by the helpless feeling of not being able to control certain aspects
of his very own life, such as desires and sexual orientation. This level of control does not stop at the
superficial level of furniture and appearance however, as Bechdel recounts the
micromanagement of her life down to the color coordination of her clothes
(Bechdel 36).
Even the most intimate
spaces for childhood expression and development were off limits to the Bechdel
children’s creativity. Bruce viewed his
children’s rooms as accessories to the greater good of his period masterpiece,
contrarily to their typically role as a child’s safe haven to escape the
pressures of the outside world. Alison
was allowed no say in her father’s decision to plaster pink floral print
wallpaper throughout her room (Bechdel 13).
Bruce could often be seen making these stylistic decisions as well as meddling
through the house touching up features of his children’s rooms. As the story progresses, more of Bruce’s
items are added into Alison’s room, including an ornate mirror. These actions further shows Bruce’s
determination to achieving normativity in the respective sense of the house as
a whole. For if one single room was not created
under the idealized image of Bruce’s imagination, the house, and Bruce by
extension, would seemingly be unable to function as a whole.
The house plays a
central role in the foundation and development for young children, especially
considering the specific and unique atmosphere of the family dynamic. The atmosphere created within the Bechdel
house is one of fleeting emotion and increasing despondence. Its condition was a mix between a museum and
an operating room, flawlessly clean while containing a trove of rich articles,
best mirroring the life Bruce wants to ultimately portray, while carefully disguising
any weakness or flaws in his own structure.
our intro shows a strong understanding of what's going on, but doesn't really present a clear argument. Hopefully one develops directly. I liked this line a lot, although it isn't quite a thesis yet: "Their father Bruce uses the family home as his personal canvas in which to manifest his insecurities and vices in a composed and articulated manner. "
ReplyDelete2nd paragraph - I certainly agree that he manipulates all appearances inside the house, but I have to wonder why you think he is striving to create a sense of security. Security for who? For my part, without further evidence, I think you're confusing beauty with security here.
"This level of control does not stop at the superficial level of furniture and appearance however, as Bechdel recounts the micromanagement of her life down to the color coordination of her clothes " -- although on the other hand he seems to have placed few demands on her *time*. Clothes, yes. Labor, sometimes. So the demands can be rather extreme, but they are also rather particular, which his interesting.
In the last two paragraphs, I think you've drifted pretty thoroughly into simple summarization. You aren't wrong, and you are observant, but by the end I don't think you ever got around to presenting an argument precise enough to even have a debate over. It's a detailed by rather shallow reading at the end of the day - no reader could miss his fixation with controlling surfaces. But what does it all mean? You might analyze the Daedalus material, for instance, in greater depth, or you might ask why he brings his sins and crimes into the house (Roy, hitting the kids) as well as manipulating appearances within it.
Where, in other words, is an argument which actually advances your particular point of view? You stick too close to the obvious.