Though this will likely be stocked with graphic novels, it shares as much in spirit with the work of Mary Karr, Tobias Wolff...
Bechdel’s memoir offers a graphic narrative of uncommon richness, depth, literary resonance and psychological complexity.
Though Bechdel (known for her syndicated “Dykes to Watch Out For” strip and collections) takes her formal cues from comic books, she receives more inspiration from the likes of Proust and Joyce as she attempts to unravel the knots of her family’s twisted emotional history. At the core of this compelling narrative is her relationship with her father, a literary-minded high-school teacher who restores and runs the familial funeral parlor. (It is also the family’s residence and the “fun home” of the title.) Beneath his icy reserve and fussy perfectionism, he is a barely closeted homosexual and a suspected pedophile, an imposing but distant presence to his young daughter, who finds that their main bond is a shared literary sensibility. As she comes of age as an artist and comes to terms with her own sexual identity, Bechdel must also deal with the dissolution of her parents’ marriage and, soon afterward, her father’s death. Was it an accident or was it suicide? How did her father’s sexuality shape her own? Rather than proceeding in chronological fashion, the memoir keeps circling back to this central relationship and familial tragedy, an obsession that the artist can never quite resolve or shake. The results are painfully honest, occasionally funny and penetratingly insightful. Feminists, lesbians and fans of underground comics will enthusiastically embrace this major advance in Bechdel’s work, which should significantly extend both her renown and her readership.
Though this will likely be stocked with graphic novels, it shares as much in spirit with the work of Mary Karr, Tobias Wolff and other contemporary memoirists of considerable literary accomplishment.Pub Date: June 8, 2006
ISBN: 0-618-47794-2
Page Count: 240
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2006
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A boon for admirers of Oz’s work and contemporary Israeli literature in general.
A moving, emotionally charged memoir of the renowned author’s youth in a newly created Israel.
“Almost everyone in Jerusalem in those days,” writes novelist Oz (The Same Sea, 2001, etc.) of the 1940s, “was either a poet or a writer or a researcher or a thinker or a scholar or a world reformer.” Oz’s uncle Joseph Klausner, for instance, kept a 25,000-volume library in every conceivable language, its dusty volumes providing a madeleine for the young writer, “the smell of a silent, secluded life devoted to scholarship,” even as his grandmother contemplated the dusty air of the Levant and concluded that the region was full of germs, whence “a thick cloud of disinfecting spirit, soaps, creams, sprays, baits, insecticides, and powder always hung in the air.” His own father had to sell his beloved books in order to buy food when money was short, though he often returned with more books. (“My mother forgave him, and so did I, because I hardly ever felt like eating anything except sweetcorn and icecream.”) Out in the street, Oz meets a young Palestinian woman who is determined to write great poems in French and English; cats bear such names as Schopenhauer and Chopin; the walls of the city ring with music and learned debate. But then there is the dark side: the war of 1948, with its Arab Legion snipers and stray shells, its heaps of dead new emigrants fresh from the Holocaust. “In Nehemiah Street,” writes Oz, “once there was a bookbinder who had a nervous breakdown, and he went out on his balcony and screamed, Jews, help, hurry, soon they’ll burn us all.” In this heady, dangerous atmosphere, torn by sectarian politics and the constant threat of terror, Oz comes of age, blossoming as a man of letters even as the bookish people of his youth begin to disappear one by one.
A boon for admirers of Oz’s work and contemporary Israeli literature in general.Pub Date: Nov. 15, 2004
ISBN: 0-15-100878-7
Page Count: 544
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2004
A vivid sequel that strains credulity.
Fremont (After Long Silence, 1999) continues—and alters—her story of how memories of the Holocaust affected her family.
At the age of 44, the author learned that her father had disowned her, declaring her “predeceased”—or dead in his eyes—in his will. It was his final insult: Her parents had stopped speaking to her after she’d published After Long Silence, which exposed them as Jewish Holocaust survivors who had posed as Catholics in Europe and America in order to hide multilayered secrets. Here, Fremont delves further into her tortured family dynamics and shows how the rift developed. One thread centers on her life after her harrowing childhood: her education at Wellesley and Boston University, the loss of her virginity to a college boyfriend before accepting her lesbianism, her stint with the Peace Corps in Lesotho, and her decades of work as a lawyer in Boston. Another strand involves her fraught relationship with her sister, Lara, and how their difficulties relate to their father, a doctor embittered after years in the Siberian gulag; and their mother, deeply enmeshed with her own sister, Zosia, who had married an Italian count and stayed in Rome to raise a child. Fremont tells these stories with novelistic flair, ending with a surprising theory about why her parents hid their Judaism. Yet she often appears insensitive to the serious problems she says Lara once faced, including suicidal depression. “The whole point of suicide, I thought, was to succeed at it,” she writes. “My sister’s completion rate was pathetic.” Key facts also differ from those in her earlier work. After Long Silence says, for example, that the author grew up “in a small city in the Midwest” while she writes here that she grew up in “upstate New York,” changes Fremont says she made for “consistency” in the new book but that muddy its narrative waters. The discrepancies may not bother readers seeking psychological insights rather than factual accuracy, but others will wonder if this book should have been labeled a fictionalized autobiography rather than a memoir.
A vivid sequel that strains credulity.Pub Date: Feb. 11, 2020
ISBN: 978-1-982113-60-5
Page Count: 352
Publisher: Gallery Books/Simon & Schuster
Review Posted Online: Oct. 20, 2019
Kirkus Reviews Issue: Nov. 15, 2019
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