However, according to some views, "Mahmoody's story of being held hostage in Iran was considered to have great commercial potential and the movie rights were sold before the book was even begun." (McAlister, 162-163) Therefore both the content and the way it was written enabled a rather easy access of the reader to the message the book tried to convey.
On the other hand, Satrapi, a regular graphic artist for The New Yorker, chose to tell her story using the technique of the graphic novel, a type of novel which combines both writing and pictures. This technique is used in general in order to express ideas about issues that would otherwise lack attention from the wider public. Therefore, multicultural graphic novels "can create a bridge to ideas and stories that some young readers might never be interested in or otherwise encounter." (Wilson, 32) From the writer's point-of-view, "Graphic novels are a young person's art, demanding and rewarding mental flexibility and nervous stamina," adding to the originality and personal implication in the writing. (Schjeldahl, 2006) The author considers that using this means of expression enabled her to use both her writing and her drawing skills "Images are a way of writing. When you have the talent to be able to write and to draw it seems a shame to choose one. I think it's better to do both." (Satrapi, 2006) At the same time, critics argue that such a technique is useful for pointing out the personal perspective on a situation and thus the piece of writing becomes more representative for the personality of the writer "the impression she tries to give is that she's documenting the way her experiences seemed to her at the time" (Wolk, 2004)
All in all, it can be concluded that indeed, the perspective of each writer offers a different view on a certain issue. While Betty Mahmoody shows a totally negative picture of the Iranian society, especially from the perspective of...
Persepolis, a memoir, written in French as a graphic novel is a semi-humorous take on the author's experiences of growing up in revolutionary Iran. Persepolis begins with the depiction of Marjane in 1980. She is 10 years old and part of a group of girls who are all wearing the veil. Almost hidden on the left hand side of the page, she is dour as are all the others who do
Persepolis Love of Country in Persepolis The graphic novel Persepolis: The Story of Childhood offers a glimpse into the life of an expatriate of Iran, Marjane Satrapi. The work is detailed in its representation of the turmoil that was experienced by many people during the Islamic Revolution that took place from 1978-1979 and effected women disproportionately. Iran before the Islamic Revolution was notably progressive, with women and men able to mix in
Persepolis is Marjane Satrapi's graphic novel depicting the impact of the Islamic Revolution on daily life in Iran. In particular, Satrapi comments on the effects of the Revolution on education and specifically the education of women. The opening scenes of the book depict the school mandating the veil for all females and banning bilingual education because it represents "capitalism" and European imperialism. Although Satrapi satirizes the occasion with good humor,
Marjane looks over at the iron on the ironing board and is forced to recognize the horror of war through a simple everyday object. (Satrapi, 54). She begins to imagine the many ways to torture people (Satrapi, 53) and eventually allows her religion to help her feel safe. Marjane's experience with traumatic events alters her identity with her society and with her God. Religion is what is familiar to
Krik Krat & Persepolis The Conflict of Culture There are a plethora of similarities that exist between Marjane Satrapi's The Complete Perseopolis and Edwidge Danticat's "A Wall of Fire Rising," one of the short stories in her collection of tales known as Krik? Krak!. Each of these respective works revolves around cultural conflicts between the main characters and their surroundings. Also, the setting for both of these pieces of literature takes place
Marjane understands how fear fuels despotism. Fear prompts people to act in spite of great personal risk or else repress their true will and even sacrifice their integrity. Wise from a young age, Marjane pinpoints the deeper motivations in human nature to either conform or to rebel, understanding systems of political power and the motivations for social movements. Even prior to the Revolution, Persian people experienced systematic oppression through pressures
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