The Story of a Childhood (Pantheon Graphic Library)
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Persepolis paints an unforgettable portrait of daily life in Iran: of the bewildering contradictions between home life and public life and of the enormous toll repressive regimes exact on the individual spirit. Marjane’s child's-eye-view of dethroned emperors, state-sanctioned whippings, and heroes of the revolution allows us to learn as she does the history of this fascinating country and of her own extraordinary family. Intensely personal, profoundly political, and wholly original, Persepolis is at once a story of growing up and a stunning reminder of the human cost of war and political repression. It shows how we carry on, through laughter and tears, in the face of absurdity. And, finally, it introduces us to an irresistible little girl with whom we cannot help but fall in love.
Praise For Persepolis: The Story of a Childhood (Pantheon Graphic Library)…
“A stunning graphic memoir hailed as a wholly original achievement in the form. There’s still a startling freshness to the book. It won’t age. In inky shadows and simple, expressive lines— reminiscent of Ludwig Bemelmans’s “Madeline”—Satrapi evokes herself and her schoolmates coming of age in a world of protests and disappearances . . . A stark, shocking impact.” — Parul Sehgal, “The 50 Best Memoirs of the Past 50 Years” The New York Times
“A dazzlingly singular achievement. . . . Striking a perfect balance between the fantasies and neighborhood conspiracies of childhood and the mounting lunacy of Khomeini's reign, she's like the Persian love child of Spiegelman and Lynda Barry.” –Salon
“A brilliant and unusual graphic memoir. . . . [Told] in a guileless voice . . . accompanied by a series of black-and-white drawings that dramatically illustrate how a repressive regime deforms ordinary lives.”–Vogue
"Odds are, you’ll be too busy being entertained to realize how much you’ve learned until you turn the last page.”–Elle.com
“[A] self-portrait of the artist as a young girl, rendered in graceful black-and-white comics that apply a childlike sensibility to the bleak lowlights of recent Iranian history. . . . [Her] style is powerful; it persuasively communicates confusion and horror through the eyes of a precocious preteen.” –Village Voice
" This is an excellent comic book, that deserves a place with Joe Sacco and even Art Spiegelman. In her bold black and white panels, Satrapi eloquently reasserts the moral bankruptcy of all political dogma and religious conformity; how it bullies, how it murders, and how it may always be ridiculed by individual rebellions of the spirit and the intellect." --Zadie Smith, author of The Autograph Man and White Teeth
"You've never seen anything like Persepolis—the intimacy of a memoir, the irresistability of a comic book, and the political depth of a the conflict between fundamentalism and democracy. Marjane Satrapi may have given us a new genre."
I grew up reading the Mexican comics of Gabriel Vargas, graduated to the political teachings of Rius, fell under the spell of Linda Barry, Art Spiegelman, and now I am a fan of Marjane Satrapi. Her stories thrummed in my heart for days. Persepolis is part history book, part Scheherazade, astonishing as only true stories can be. I learned much about the history of Iran, but more importantly, it gave me hope for humanity in these unkind times.
—Sandra Cisneros, author of The House on Mango Street and Caramelo
I thought [Persepolis] was a superb piece of work, not only for the child's eye view—the developing child's eye view—of a society unknown to many of us in the west, and feared and suspected in proportion to being unknown.... Satrap has found a way of depicting human beings that is both simple and immediately comprehensible, AND is almost infinitely flexible. Anyone who's tried to draw a simplified version of a human face knows how immensely difficult it is not only to give the faces a range of expression, but also to maintain identities from one frame to the next. It's an enormous technical accomplishment."
--Philip Pullman, author of The Golden Compass, The Subtle Knife, and The Amber Spyglass.
"I cannot praise enough Marjane Satrapi's moving account of growing up as a spirited young girl in revolutionary and war-time Iran. Persepolis is disarming and often humorous but ultimately it is shattering."
-- Joe Sacco, author of Palestine and Safe Area Gorazde
This witty, moving and illuminating book demonstrates graphically why the future of Iran lies with neither the clerics nor the American Empire.
--Tariq Ali Author of The Clash of Fundamentalisms: Crusades, Jihads and Modernity
"I found the work immensely moving with depths of nuance and wisdom that one might never expect to find in a comic book. It’s a powerful, mysterious, enchanting story that manages to reflect a great swath of Iranian contemporary history within the sensitive, intimate tale of a young girl’s coming-of-age. I didn’t want it to end!"
—Diana Abu-Jaber, Author of Crescent and Arabian Jazz
"A rare and chilling memoir that offers every reader a personal, honest portrait of Iran's recent political and cultural history. Ms. Satrapi's provocative, graphic narrative of life in Iran before and after the Islamic revolution is an extraordinary testament to the level of human suffering experienced by Iranians tossed from one political hypocrisy to another. Aside from the humanistic dimension, the beautifully minimalist Persepolis gives further evidence of Marjane Satrapi's sensitivity and superb skill as an artist."
--Shirin Neshat, visual artist/filmmaker
"Readers who have always wanted to look beyond political headlines and CNN's cliches should plunge into this unique illustrated story. Let Marji be your trusted companion, follow her into the warmth of a Persian home and out along Tehran's turbulent streets during those heady days of revolution. Persepolis opens a rare door to understanding of events that still haunt America, while shining a bright light on the personal humanity and humor so much alive in Iranian families today."
-- Terence Ward, author of Searching for Hassan
Blending the historical with the personal is not an easy task, to blend the individual with the universal is even more challenging. But Marjane Satrapi has succeeded brilliantly. This graphic novel is a reminder of the human spirit that fights oppression and death, it is a witness to something true and lasting which is more affective than hundreds of news broadcasts.
--Hanan al-Shaykh, author of Women of Sand and Myrhh
Pantheon, 9780375422300, 160pp.
Publication Date: April 29, 2003
About the Author
Conversation Starters from ReadingGroupChoices.com
1. The New York Times hails Persepolis as “the latest and one of the most delectable examples of a booming postmodern genre: autobiography by comic book.” Why do you think this genre is so popular? Why did Satrapi chose this format in which to tell her story? What does the visual aspect add that a conventional memoir lacks? Have you read other graphic memoirs, such as Maus by Art Spiegelman or Joe Sacco’s Palestine? How is Persepolis different and/or similar to those? How does Persepolis compare to other comic books? Would you call this a comic book, or does it transcend this and other categories? Where would you place this book in a bookstore? With memoirs, comic books, current events?
2. Written as a memoir, is Persepolis more powerful than if Satrapi had fictionalized the story? Why or why not? Compare this book to other memoirs you have read. What are the benefits and drawbacks of memoirs?
3. In an Associated Press interview, Satrapi said, “The only thing I hope is that people will read my book and see that this abstract thing, this Axis of Evil, is made up of individuals with lives and hopes.” And in her introduction to Persepolis, she explains that she wrote this book to show that Iran is not only a country of “fundamentalism, fanaticism, and terrorism.” How does Satrapi go about challenging this myth? How does Persepolis dispel or confirm your views on Iran? In what ways does reading this book deepen your understanding and knowledge of Iran, and the current situation in Iraq?
4. How is Persepolis organized and structured? What has Satrapi chosen to emphasize in her childhood? How is the passage of time presented? Describe Satrapi’s drawings. How do the drawings add to the narrative of the story?
5. Describe the writer’s voice. Is it appealing? Which aspects of Marji’s character do you identify with or like the most, the least? Did your reaction to the little girl affect your reading experience?
6. How did the revolution exert power and influence over so many people, including many educated and middle class people like Satrapi’s parents? Why did so many people leave after the revolution? Why do you think Marji’s parents send her off to Austria while they stay in Tehran? Why don’t they leave/escape as well?
7. “Every situation has an opportunity for laughs.” (p. 97) Give some examples of how the ordinary citizens of Iran enjoyed life despite the oppressive regime. What made you laugh? How does Satrapi add comic relief? How are these scenes relevant to the story as a whole?
8. What kinds of captivity and freedom does the author explore in Persepolis? What stifles or prevents people from being completely free? How do they circumvent and defy the rules imposed on them and attempt to live ordinary lives despite revolution and war? Give some examples of their small acts of rebellion.
9. “In spite of everything, kids were trying to look hip, even under risk of arrest.” (p. 112) How did they do this? What do you think you would have done had you been a child in this environment? What acts of rebellion did you do as a teen? In way ways is Satrapi just a normal kid?
10. What does Satrapi say regarding disparity between the classes before and after the Iranian Revolution? Discuss some examples that Marji witnesses and contemplates.
11. At the core of the book is Marji’s family. What is this family like? What is important to Marji’s parents? What environment do they create for their daughter despite living under an oppressive regime and through a brutal, prolonged war? From where do they get their strength?
12. What is the role of women in the story? Compare and contrast the various women: Marji, her mother, her grandmother, her school teachers, the maid, the neighbors, the guardians of the revolution.
13. Discuss the role and importance of religion in Persepolis. How does religion define certain characters in the book, and affect the way they interact with each other? Is the author making a social commentary on religion, and in particular on fundamentalism? What do you think Satrapi is saying about religion’s effect on the individual and society?
14. In what ways is Persepolis both telling a story and commenting on the importance of stories in our lives? What does the book suggest about how stories shape and give meaning to our experience? Discuss some of the stories in Persepolis—Uncle Anoosh’s story, her grandfather’s story, Niloufar’s story.
15. What is Satrapi suggesting about the relationship between past and present, and between national and personal history? What role does her family history, and the stories of her relatives, play in shaping Marji?