Traditional narratives are quite elaborate and considerably more complicated when compared to graphic novels. When a reader goes through a written novel, he or she is able to form personal images of the settings and characters under discussion. Though a graphic novel contains fewer words, its ability to enhance the meaning behind the narration dies not to grow any less. The combination of the visual imagery and the words makes it easier for the reader to understand the meaning of certain complicated ideas. The images used in graphic novels are almost universal in nature, which helps the reader relate to what he or she sees. For example, in Persepolis, one can see distinctly Marja’s emotions.
After Marja hears the false rumor that her father was dead, she is gripped by sadness, and the picture with her imagining the floating spirits of her father and grandfather tells more than words can. Satrapi has simplified the drawings of all images including faces to challenge the reader to sue his/her imagination to explore the novel idea further (Satrapi, 2004, 29). Analyzing some of the book chapters can help explain how the book sheds light on Iranian culture, downplaying a number of ethical, national and cultural stereotypes of Iranian society. (In addition, the imagery of the novel allows us to see the way religious, political and cultural aspects of Iranian life are intertwined. In addition, Satrapi manages to address gender issues very successfully.
While in Iran, Marjane nurtures several important relationships with fellow countrywomen. It is obvious that the most important of these for Marjane is her relationships with her grandmother, whom she is very close to. Another woman who is very close to Marja is her mother. Marjane turns to the latter for every important decision the girl has to make in her life. Even though Marja builds strong relationships with men as well, for example, with her father or uncle, she tends to socialize mostly with women, who function as her close confidants, while men like her uncle Anoosh and her father are rather role models for her.
The former, who is a political hero, according to Marjane, gets executed from being a Marxist supporter (Satrapi, 2004, 62). This book highlights the importance of women to form strong support networks. However, the author also depicts vividly the fear that women have to face on their way. For instance, describing the time that Marjane spent with Mehri, the maid the family used to have, the author uses quite simple graphics, showing a series of very simple black-and-white, one-perspective drawings with white background and black outlines and shapes. This series is supposed to mean the days of Marjane’s happiness. However, introduce a bit of negative element into the story, Satrapi includes the drawing in reversed colors at the end of the page (Satrapi, 2004, 34).
Iranian political system is patriarchal (Satrapi, 2004, 148). Women find themselves spending so much time on trivial matters, such as taking care of the house and doing their chores, which prevents them from engaging in more meaningful affairs like political matters. In addition, the idea of integrity is rendered in the novel rather wisely. The girl fears that the fact of making women wear the veil and prohibiting them to complete their studies at higher educational establishments can throw the country several decades back in its development: “You’ll see, soon they’re actually forcing us to wear the veil and you, you’ll have to trade your car for a camel. God, what a backward policy!” (Satrapi, 2004,73). Quite exaggerated, the idea still reprints the fears of women in Iran.
The book shows that there are double standards applied to men and women in Iran, especially about wearing certain clothes. Most Islamic states that impose Sharia law overlook the restrictions that the Quran imposes on men concerning the dressing code, yet do not presuppose any change in restrictions for women. The issue comes to the forth as the family explains Marjane the Islamic idea of dowry and the position of a woman and a wife in the Islamic world (Satrapi, 2004, 147). In addition, the author raises the issue of a woman’s independence in the Islamic world.
As the parents talk to Marja, they admit that the political changes in the country affect women’s state greatly: “Well, it’s better for you to be far away and happy than close by and miserable. Judging by the situation here, you’ll be better off somewhere else” (Satrapi, 2004, 148). Therefore, the parents admit that the difficulties that women experience when living in an atmosphere of constant restrain are terrible. Moreover, compared to other countries, Iran during and after the Islamic revolution was the place where women could not feel free. As Marjane recalled, her experience in other countries was much like tasting freedom: “Yeah, it’s true, that was great… real independence” (Satrapi, 2004, 14).
The role of Islamic women is restricted to household chores. This book puts forth the challenge of self-determination to women. Women in Islamic culture are expected to be dogmatic about the laws imposed on them and what is generally expected of them. Any deviation from the norm is checked and severe punishment is imposed on the offending party. Most people, in Islamic culture view, wearing of the veil as a path towards liberation while in western culture this is seen as a way to politically suppress women under the religious pretexts.
In addition, the issue concerning the relationships with other cultures is also referred to in the novel. Among the most important elements of the novel, the scene of Marjane listening to her grandmother’s piece of advice, reveals the true values that the author wants to remind the readers of: “If they hurt you, tell yourself that it’s because they’re stupid, that will help you keep from reacting to their cruelty. Because there is nothing worse than bitterness and vengeance… Always keep your dignity and be true to yourself” (Satrapi, 2004, 150).
The key to liberation, according to Satrapi, lies in the ability to independently engage in critical thought regarding religious and political issues. Her autobiography combines the elements of captions, images and dialogue to express emotions and convey certain messages. The reader cannot help interpreting most things on his/her own since the book is neither a political manual nor a religious discourse. The book empowers women in making choices for their own customs and beliefs.
This graphic novel helps the reader relate to events taking place in Iran and show how historical images of a general nature help the reader delve more into his/her own imagination.
Graphic narratives use frames and drawings with little text. Written through a child’s perspective, this is still a book for the adults – for them to understand that there is a logical viewpoint that deserves being considered. The book clearly shows how the Iranian hopes for a better future were shattered; ending with “It would have been better to just go” (Satrapi, 2004, 153), the novel leaves a sad impression, yet gives a lot of food for thoughts.