coming of angst

For many queer individuals, coming out is the greatest accomplishment in self-actualization. It gives you a picture of who you were before;  insecure in your identity, possibly ashamed, hiding a part of yourself, and generally unsure of who you truly are, and picture of who you are after; living your truth, hopefully being accepted. This narrative of before vs. after, insecure vs. proud, confused vs. knowledgable, relates a lot to the coming-of-age narrative. Both have a rocky beginning, a period of trials and self-discovery, and a final stage of growth and self-acceptance. This is why Alison Bechdel's Fun Home  is so compelling; it presents a coming out and coming-of-age narrative in tandem, each making the other more powerful because of the complexities it adds. I would, however, like to point out that, unlike Alison's story, coming out and coming-of-age do not always occur simultaneously. Everyone's journey to self-discovery is different, and everyone has different timel...

In Black Swan Green , Jason Taylor deals with three internal characters. He has Maggot, who is afraid of everything and protects Jason's self-interest, Unborn Twin, who encourages Jason to live life to the fullest, and Hangman, who personifies Jason's stutter. Maggot and Unborn Twin speak to Jason frequently, through the use of italicized text — usually used by authors to refer to thoughts or internal dialogue. Hangman, however, is more "othered" inside Jason's head. He doesn't really speak, but instead is just a constant, threatening presence. Jason's three voices represent David Mitchell's revision of the Freudian concepts of Id, Ego, and Superego. Id drives survival instincts, Superego represents superior moral judgement, and Ego balances the two. However, instead of having these three helpful psychological constructs, Jason has three that work against him. Maggot is so named because he's small, weak, and always scared. When Jason hears the nois...