Convergence In Alison Bechdel's Fun Home

“Tuesdays with Morrie” and “The Death of Ivan Ilych” both portray a character who is dealing with a serious terminal illness and advance knowledge of their deaths. One story is based on the realistic life of an American professor with the story’s characteristics tone from the 1990’s while the other is set during nineteenth century Russia. Even though Morrie Schwartz and Ivan Ilych both suffered from the illness, their dissimilar lifestyles and beliefs led to different perspective on facing death. One views the knowledge as a blessing and an opportunity to share his life experiences before making his final good-byes, the other agonizes in pain and begs for an

Sophie introduces herself in the story as a nerdy, outcasted teenage girl, “I always thought of myself as a free-floating one-celled amoeba, minding my own business. The other kids at school were all parts of a larger organism. . . Not particularly noticed, definitely not appreciated, just an amoeba swimming around aimlessly” (9). Sophie feels as if she does not belong where she grew up, she has always felt like she was on the outside. Her father, a drug dealer and felon, left her mother when she was first born. Because of her extreme self-esteem issues, Sophie blames herself for her father leaving. She recalls what she believes happened when she was born, “When Mom was a teenager, I started making her belly fat. And then my dad left. And then I was born too soon. And he came back to get us.

Alice Munro is a Canadian short story writer and Nobel Prize Winner. In her article “What is Real”, Alice Munro discusses the difficulty many of her readers seem to have in telling fact from fiction as she writes about her own fictional works. Her readers, she recounts, often ask her if she writes about real people, or real events, apparently unable to comprehend “the difference between autobiography and fiction” (Munro). However, by the end of her article on the subject, “What Is Real?” Munro admits that the imagination is one she herself often blurs. “Yes,” she writes, “I use bits of what is real, in the sense of being really there and really happening, in the world, as most people see it, and I transform it into something […] in my story” (Munro). In other words, Munro sees her work as a kind of fiction because she uses both reality and fact. This makes her work honest but yet not real at the

Family relationships can shape one’s character and indirectly impact their personality. These influences are observed in the book The Road by Cormac McCarthy and Frankenstein by Mary Shelley. The term ‘family’ does not necessarily refer to relationships by blood, but it can also relate to other types of deep emotional connections that are similar. For instance, Victor and the monster are not family, however, since Victor created the monster (Shelley, 83), he can be viewed as a father figure to his creation. In the book Frankenstein, we will explore the relationships Victor has with both his own family and with the monster. In the book, The Road we will uncover the relationship between the father and the son. By exploring the relationships from each book we will discover how these interpersonal relationships are significant in affecting each character’s behaviour. Moreover, we will compare the similarities and differences between both families

This case surrounds the controversy brought about by the Arizona state legislature defunding life-saving organ transplant operations. In 1987, the Arizona state legislature voted to eliminate funding for most organ transplants for the indigent through the Arizona Health Care Cost Containment System (AHCCCS). At the same time of this decision, the legislature voted to extend health coverage to pregnant women and children in a “notch group.” The public controversy began when Dianna Brown died after being denied coverage for a liver transplant that would have saved her life. After her death, there was wide spread

Lucy Deadman explores the existence of archetypes across all literary text types and how they revisit from our childhood by pressing replay in our lives.

In their recent work, Brad Manning and Sarah Vowell have written about more than one way to have a close, but different relationship with their fathers. There is has always been a belief that to get along with someone you would have normal conversations, enjoy each other’s company, or share a common interest. In the story they love their father as any other child would, but their ways of communication are not the same and are different from a common father-child relationship. Both authors use rhetorical devices as a framework for differentiating their relationships with their fathers by characterizing them.

Few relationships are as deep as those between child and parent. While circumstance and biology can shape the exact nature of the bond, a child’s caretaker is the first to introduce them to the world. And as they grow and begin to branch out, children look to their parents as a model for how to interact with the various new situations. Through allusion, potent imagery, and nostalgic diction, Natasha Trethewey constructs an idolized image of a father guiding their child through life’s challenges only to convey the speaker’s despair when they are faced with their father’s mortality in “Mythmaker.”

Keeping a person alive by excessive treatment might devastate the family and make the dying suffer tremendously in the end. “Advance medical technology that seems to one person a godsend, extending life, may seem to another a curse that only prolong dying. Dignity can be devalued amid technology focused solely on the biological organism.”

To the uninitiated, the writing of Flannery O'Connor can seem at once cold and dispassionate, as well as almost absurdly stark and violent. Her short stories routinely end in horrendous, freak fatalities or, at the very least, a character's emotional devastation. Working his way through "Greenleaf," "Everything that Rises Must Converge," or "A Good Man is Hard to Find," the new reader feels an existential hollowness reminiscent of Camus' The Stranger; O'Connor's imagination appears a barren, godless plane of meaninglessness, punctuated by pockets of random, mindless cruelty.

Not only does Alison approach herself and her father as “inversions” of each other, but she

Alison Bechdel's graphic memoir, Fun Home: A Family Tragicomic, documents the author's discovery of her own and her father's homosexuality. The book touches upon many themes, including, but not limited to, the following: sexual orientation, family relationships, and suicide. Unlike most autobiographical works, Bechdel uses the comics graphic medium to tell her story. By close-reading or carefully analyzing pages fourteen through seventeen in Fun Home one can get a better understanding of how a Bechdel employs words and graphic devices to render specific events. One can also see how the specific content of the pages thematically connects to the book as a whole. As we will see, this portion of the book echoes the strained relationship

Fun Home is a retelling of Alison Bechdel’s life through the lens of her relationship with her father. However, because of what she considers to have been his suicide, Alison is left with an incomplete picture of who he was in life. By calling Fun Home an autobiography, Bechdel enters an autobiographical pact with the reader that ensures that what Bechdel is telling us is the truth. However, elements out of her control leave Bechdel unable to provide certain objective facts necessary to her narrative. As an attempt to remedy these absences and in turn maintain the validity of her story, Bechdel uses intertextuality to fill in the gaps of in her retelling. By overlaying masterplots of fictional narratives over her own, the reader is able to get at an understanding of the kind of person Alison’s father was. In this way Bechdel is able to reveal things about her father that she can 't prove to be true, but are reflective enough of his life to become true.

Flannery O 'Connor’s works are nothing short of extraordinary. They frequently step into the realm of the extreme to make a statement or prove a point. The result is that her messages are stark and vivid, and O 'Connor is able to make bold positions on controversial subjects. She achieves this effect through a number of means, which consist primarily of Christian symbolism, character foils, and literary irony. Combined, they create rich, intense environments in which radical events push and twist characters. As a result of this stress, the characters are defined more clearly. In many instances, they achieve a kind of self realization, and their revelations usually come with an ironic factor or consequence. O 'Connor’s stories, notably

Why are we allowed to be more humane to our pets than our parents? Physician-assisted suicide is a voluntary termination of one’s own life by administration of a lethal substance with direct or indirect assistance of a physician. Euthanasia is another term for this practice it provides a competent patient with a prescription for the patient to use with the primary intention of ending his or her own life. Compassion and Choices or Death with Dignity are names of supporters that promote euthanasia, also referred to as physician-assisted suicide, and believe that it is just as humane for terminally ill animals as it is for people. I too agree that it should be legally and morally open for choice to anyone suffering from a terminal