I didn’t know much about the European comics scene until my recent trips to France. There’s still a vibrancy and sense of community and political purpose that has long since faded from the American scene. But in terms of lesbian culture, I had the sense that both countries are where the US was maybe ten years ago. T : Having now presented your work in Europe, what are your general impressions of your public over here-whether of the feminist community, or the greater public? Do European reactions differ from North-American reactions?ĪB : I’ve mostly spent any time in the UK and France-and very little at that. Graphic narrative has been getting closer and closer to acceptance as a legitimate literary form for a couple decades now, and I was able to ride that wave. So I feel very fortunate that this book got the critical attention that it did. Creative leaps don’t always work out, and aren’t always recognized. But Fun Home was a real creative leap for me. I don’t want to downplay DTWOF-I’m very proud of the series, and I think it’s been a worthy contribution to queer culture as well as to the comics genre. Transat: How has Fun Home’s reception been different in nature from the reactions to Dykes to Watch Out For?Īlison Bechdel : Fun Home has had a very different reception than Dykes to Watch Out For. “Self-portrait by Alison Bechdel,” Courtesy of the author
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