Alison Bechdel: Inside Her Head
BY Ari Karpel
June 15 2012 4:28 AM ET
Bechdel’s wise, wry perspective, so familiar to fans of her long-running comic strip, comes through just as much in person as it does on the page. And the Pennsylvania native, who lives in Vermont with her girlfriend of four years but is currently spending a few months teaching in Chicago, looks pretty much as readers of Fun Home would expect — preternaturally slim, dressed in head-to-toe black topped off by her signature, horn-rimmed Elvis Costellos.
Truth be told, Bechdel looks a bit like every character she’s ever drawn, probably because she’s the model for all of them, taking photographs of herself in whatever position a character will take. “It’s like I use myself as a skeleton and then flesh it out with details of other characters,” she explains. “It’s kind of like Being John Malkovich, when he goes through his own portal.”
Bechdel isn’t likely to return to the portal that put her on the map, Dykes to Watch Out For. She took a break from the cartoon strip in 2008, thinking she’d return to it but now that seems unlikely. “I feel like I didn’t end Dykes really well,” she says, “it just kind of trailed off. I kind of lost my mojo for it.”
Bechdel wrote Dykes for 25 years, beginning when she was 23, in 1983. For a long time she was motivated to keep it going by a need to see queer characters in the culture. No more. “I don’t feel that same urgency. I mean this whole Obama marriage thing, it’s such an unimaginable landscape. I never would have imagined that we would be where we are today when I was 20.”
She also never imagined that her life would be fodder for a musical, but Bechdel has signed off on letting Fun Home become just that, in the hands of playwright Lisa Kron (The Five Lesbian Brothers) and composer Jeanine Tesori (Caroline, or Change).
She had rebuffed offers for a movie, fearing the worst. “I thought about what it would be like to have a really, really bad movie about my life, about this intimate part of my life,” she says. “I didn’t say no, but I decided how much my soul was worth and I asked for a lot of money.” Instead, they said no. But she agreed to the musical, figuring it was less of a risk. “If it was a bad musical, how many people would see that?”
Bechdel saw a reading of the musical at the end of last year. “I really thought it was amazing. But, you know, I have no objectivity because it’s a play about my life.” A workshop will be performed at the Public Theater in New York in the fall.
Bechdel isn’t revealing what her next project will be, and she may not be entirely sure herself but it’s certain to explore a familiar topic. “I want to keep strip-mining my family,” she says, smiling. “I feel like I have one more family memoir at least that I have to get out of my system. I’m just really interested in family as a concept.” Bechdel says that when she was a “lesbian feminist” in her 20s, she dismissed family as a dysfunctional construct. But now she sees it differently. “An intact, functional family is an amazing thing.”
To prepare, she’s been exploring it as if she were an anthropologist. “I’m starting to read Margaret Mead. She looked at family from an ethical/logical point of view. Plus she was a big dyke.”
Meanwhile, Bechdel’s mother just might be settling into her new normal. “I feel like she’s excited about the book, like I’ve given her this fun thing,” the author says. “Even though she’s not happy about the content of it and won’t talk to me about that.” But her mother is supportive in her way. “She’s able to go the bookstore and say, ‘This is by my daughter.’ And I think she feels like it’s her achievement as well. That’s what I really love.
“And it is her achievement. She’s the person who enabled me to write. And that’s kind of what the book is all about.”
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