Marjane Satrapi – Persepolis

Marjane Satrapis carry Persepolis is alternatively c whollyed by the critics a graphic novel or an autobiographical comic sketch. The book is made up of a series of black and egg white illustrations, arranged in little episodes that deliver different scenes from the life of Marjanes family, in Tehran. It begins immediately later the Islamic gyration in Iran in 1979 and continues with the first 4 long time of the war contact by Iraq and Iran. The of import mention in the story is Marjane herself, who is ten-spot years old when the revolution starts.Although both the language of the novel and the illustrations atomic number 18 truly simple and straightforcellblock, only revealing the infixed facts of the story, the book is nevertheless rattling in force(p) and delivers its message as well as each other text. The scarcity of text doesnt cut down on its literary value, on the contrary, the book seems to put on a lot from this brief and report- standardised make-up sty le. The main reason for this is the fact that the informant creates a sharp contrast between the objective, documentary film style, with its brief sentences and its matter-of- fact training and the personal narrative that is actu everyy conveyed to the reader.The infixed point of view in the book is only hinted at in an patently impersonal tone. Moreover, Marjane Satrapi intentionally substitutes the ten years old fille for herself, and and then manages to register her reaction as a small fry to the religious and semipolitical movements in Iran. The girl actually grows as a character by the end of the book, passing, like any character of fiction, from one stage to other in her development. This is achieved mainly through the minute notation of the childs reactions to every(prenominal) event mentioned in the book. Although all the statements in the novel seem unbiased, Marjane Satrapi succeeds in conveying her own message as if she had indite a truly field of operatio nive and explanatory narrative of her experiences.Although very succinctly, the book captures the absurdities of the fundamentalistic movement in Marjanes country, with the represent of social and political transformations that took place afterwards. either this is done in an ironic tone, although again, the make-up style remains unornamented.One by one the main social and political problems are displayed, from the dispute around the subject of the veil that the women have to labour all the time, according to the fundamentalists, to the resolution of the all multilingual schools and of all universities for two years, or the closing of the Ameri nominate embassy because of the attacks of the religious fanatics. The author smartly unmasks the stomachward views of the new political regime, who was clear of closing the schools so as to ward off the dangerous capitalist ideas that were accomplished thereThe educational system and what is write in schoolbooks, at all levels, a re decadent. Everything needs to be revised to take in that our children are not led astray. (Satrapi, 25)At the same time that the crucial events of sack on in the country are related (mostly in the form of television set reports, as the family actually found go forth the news probably), there are withal many events that involve the family as well, like the womens protest against fundamentalism and the veil, which is rapidly suppressed by the political forces, or the attack that the girls get under ones skin suffers on the street because she doesnt wear the veil.Society also changes, and the parents of the girl spirit that the same people who engaged in usual liberal activities before, like eating away ultramodern clothes or drinking, shortly change these habits outwardly and start lying. The result when Marjanes mother tells her to tell everyone that all she does at home is pray is very ironical If anyone asks you what you do during the day, you say pray, you clear?(Sat rapi, 29) In very few language and illustrations, Satrapi manages to render the Iranian society after the Islamic Revolution, with its insincerity and fear of persecution. altogether through the book, Marjane evolves by reacting to the environment that surrounds her and by understanding new things. The author conservatively transcribes her reactions for example, during first episode or The hide out, the girl remarks that she really didnt notice what to think about the veil (Satrapi, 2), capturing thus the dilemma and wonder of the child, who although deeply religious, was at the same time used to the modern ways of her family.Other reactions and feelings are registered in the book, like the dream of the girl to befit a prophet, or the moment when the family comes back from Spain to find out that the war had begun in Iran, and Marjane experiences a feeling of patriotism, and discovers that she wanted to agitate for her country. Her desire to become a apothecary like Marie Cu rrie follows, and then more insubordinate years as an adolescent who listens to American music.All these examples and many more, manage to portray ten years old Marjane as a strong character who is adequate keeps her views in the midst of the general confusion and fear, and to cope with the war and violence that surrounded them. The book makes a good literary work especially because of the personal portion of Marjane, which although it is not really heard as such, vibrates through the ironic and objective style. The literary genre that Satrapi creates is thus at once documentary because it is true and autobiographic, and literary, since as all literary works, it manages to convey much more than can be read at the erupt of the textWorks CitedSatrapi, Marjane. Persepolis. New York Pantheon Books, 2003