Heike Bauer, a professor at the University of London, categorizes Fun Home as part of the queer transnational archive for its contribution towards the "felt experiences" of the LGBTQ community.[26] Bauer argues that books provide a relatable source, or a felt experience, as Alison uses literature to understand her own feelings in a homophobic society.[26] Bauer notes that as Alison finds relatable literature for her experiences, Fun Home itself becomes a similar outlet for its readers by increasing representation of LGBTQ literature.[26]
Valerie Rohy, an English professor at the University of Vermont, questions the authenticity of Alison's archives in the book.[74] Rohy explores how Alison uses her diary in her childhood and readings in her young adulthood to both document her life and learn about herself through written works. On the uncertainty relating to Bruce's cause of death, Rohy says Alison concludes it to be a suicide to fill in her knowledge gap of the situation, similar to her use of books to fill in gaps in her own understanding of her childhood.[74]
Judith Kegan Gardiner, a professor of English and Gender and Women's Studies at the University of Illinois, Chicago, views Fun Home as queer literature that bends the literary norms of the graphic novel genre,[75] arguing Bechdel combines both tragedy, normally associated with men, and humor, normally associated with women, by discussing her father's death using a comic book style and dark humor. Gardiner argues Bechdel takes control of creating an open culture for lesbian feminist work through Fun Home by focusing less on Bruce's wrongdoings regarding minors, and more on the tragedy faced by Alison and the guilt towards his subsequent death after her coming out. She also says that by breaking the gender norms of the genre, particularly within lesbian and gay literature, Fun Home has dramatically affected representation.
