The narrative of Fun Home is non-linear and recursive.[36] Incidents are told and re-told in the light of new information or themes.[37] Bechdel describes the structure of Fun Home as a labyrinth, "going over the same material, but starting from the outside and spiraling in to the center of the story."[38] In an essay on memoirs and truth in the academic journal PMLA, Nancy K. Miller explains that as Bechdel revisits scenes and themes "she re-creates memories in which the force of attachment generates the structure of the memoir itself."[39] Additionally, the memoir derives its structure from allusions to various works of literature, Greek myth and visual arts; the events of Bechdel's family life during her childhood and adolescence are presented through this allusive lens.[36] Miller notes that the narratives of the referenced literary texts "provide clues, both true and false, to the mysteries of family relations."[39]
The memoir focuses on Bechdel's family, and is centered on her relationship with her father, Bruce. Bruce was a funeral director and high school English teacher in Beech Creek, where Alison and her siblings grew up. The book's title comes from the family nickname for the funeral home, the family business in which Bruce grew up and later worked; the phrase also refers ironically to Bruce's tyrannical domestic rule.[40] Bruce's two occupations are reflected in Fun Home's focus on death and literature.[41]
In the beginning of the book, the memoir exhibits Bruce's obsession with restoring the family's Victorian home.[41] His obsessive need to restore the house is connected to his emotional distance from his family, which he expressed in coldness and occasional bouts of abusive rage.[41][42] This emotional distance, in turn, is connected with his being a closeted homosexual.[29] Bruce had homosexual relationships in the military and with his high school students; some of those students were also family friends and babysitters.[43] At the age of 44, two weeks after his wife requested a divorce, he stepped into the path of an oncoming Sunbeam Bread truck and was killed.[44] Although the evidence is equivocal, Alison concludes that her father died by suicide.[41][45][31]
The story also deals with Alison's own struggle with her sexual identity, reaching a catharsis in the realization that she is a lesbian and her coming out to her parents.[41][46] The memoir frankly examines her sexual development, including transcripts from her childhood diary, anecdotes about masturbation, and tales of her first sexual experiences with her girlfriend, Joan.[47] In addition to their common homosexuality, Alison and Bruce share obsessive-compulsive tendencies and artistic leanings, albeit with opposing aesthetic senses: "I was Spartan to my father's Athenian. Modern to his Victorian. Butch to his nelly. Utilitarian to his aesthete."[48] This opposition was a source of tension in their relationship, as both tried to express their dissatisfaction with their given gender roles: "Not only were we inverts, we were inversions of each other. While I was trying to compensate for something unmanly in him, he was attempting to express something feminine through me. It was a war of cross-purposes, and so doomed to perpetual escalation."[49] However, shortly before Bruce's death, he and his daughter have a conversation in which Bruce confesses some of his sexual history; this is presented as a partial resolution to the conflict between father and daughter.[50]
At several points in the book, Bechdel questions whether her decision to come out as a lesbian was one of the triggers for her father's suicide.[39][51] This question is never answered definitively, but Bechdel closely examines the connection between her father's closeted sexuality and her own open lesbianism, revealing her debt to her father in both positive and negative lights.[39][41][31]
