Alison Bechdel's graphic memoirs--Fun Home, Are You My Mother? and The Secret of Superhuman Strength--explore the relationship between word and image, both in their form, as comics, and narratively, via Bechdel's musings on self- expression, sexuality, psychoanalysis, and exercise. On each of these sites, she is deeply concerned with the pervasive dichotomies of subject/object, self/other, and past/present. The fraught dichotomy between words and images forms the organizing force for how she writes and draws about all dichotomies, as she disrupts the hierarchy between word and image of Lacan's symbolic order without, as many feminists scholars have, deeming the symbolic order of language inherently patriarchal. Drawing from Julia Kristeva's theorizing of Lacan's symbolic order, Hillary Chute's comics theory, as well as W.J.T. Mitchell's work on the relationship between word and image, I analyze each book sequentially. In her memoirs, Bechdel disrupts the very distinction between word and image. When she recreates book passages and letters, these are not simply transcriptions, but drawings of physical pages, treating words as images. Chute and DeKoven's definition ofcomics focuses on it as a dual medium, but in Bechdel's memoirs, the relationship between word and image is not as stable as duality. It is a collaboration requiring constant renegotiation.