persepolis book essay topics

Table of Contents

Introduction, techniques and metalanguage, essay 1: how does persepolis: the story of a childhood explore what it means to live in fear and oppression.

• Essay 2：Marji’s grandmother says: “Always keep your dignity and be true to yourself.” To what extent does Marji follow her grandmother’s advice?
• Essay 3: Discuss how history is depicted in Marjane Satrapi’s Persepolis: The Story of a Childhood.
• Essay 4: “There were two kinds of women.” ‘Persepolis argues that were one of the primary targets of the fundamentalist regime.’ To what extent do you agree?
• Essay 5: How does Marjane Satrapi use her illustrations to effect in Persepolis: The Story of a Childhood?
• Essay 6: ’Persepolis: The Story of a Childhood shows us that in authoritarian regimes there is no hope of resistance.’ To what extent do you agree?
• Essay 7: What role do Marji’s parents play in her development as a person?
• Essay 8: Discuss the role of the minor characters in Persepolis: The Story of a Childhood

Persepolis: The Story of a Childhood is the first of Marjane Satrapi’s two-part graphic novel memoirs of her youth and young womanhood. It is set during and in the immediate aftermath of one of the 20 th Century’s most important incidents – the Iranian Revolution of 1979. The graphic novel explores this tumultuous period through the eyes of the young Marjane (frequently referred to as Marji), who must grapple with adolescence whilst also trying to make sense of the rapidly changing world around her.

Satrapi contextualises her story within the vast history of Iran, from the ancient cultures of Elam and Persia through to the modern day. The memoir takes its title from the Greek name of the ancient capital of Persia ( Perses = Persia, Polis = city). The young Marjane has a powerful pride of her country’s ancient past, and as a child she is inspired by ancient Zoroastrian festivals and the words of the ancient prophet of Zoroastrianism, Zarathustra. Zoroastrianism was replaced by Islam as the dominant religion of the region following the Arab conquests from the 7 th Century CE onwards, although there are still Kurdish minorities spread throughout Syria, Turkey and Iraq who follow a modern incarnation of the ancient faith. Satrapi repeatedly references the distant past in order to contextualise the events of the memoir and demonstrate that the version of Iran which emerged after the revolution did not reflect a return to a traditional or “pure” cultural tradition.

The background to the Iranian Revolution is complex and contested. Its immediate causes were probably economic, but there were further-reaching factors. The Shah who governed at the time relied on force and brutality to keep his subjects in line. Further, he pursued a secularist and pro-Western policy agenda which many felt was contrary to Iranian culture. The Shah owed his position to a coup d’état in 1953 orchestrated by Western powers who desired safe access to Iranian markets. This was a crucial reason for general anti-regime sentiment. The Shah pursued dramatic land reforms which may have helped create an industrial urban class, who could be swayed by socialist ideas, and an educated intelligentsia (such as the Satrapis) who also opposed his dictatorship. For many other Iranians, his (often extremely draconian) attempts to secularise the country were seen as an attack on their culture. Widespread discontent found a voice in the radical Ayatollah Khomeini (Ayatollah is a religious title) who returned from an exile imposed by the regime. Eventually, after widespread protests and street violence, the Shah fled the country. A popular vote installed the hard-core Shiite Islamist Ayatollah Khomeini into power, and he quickly began exterminating democratic or Marxist opposition groups, abolishing the rights gained by women under the Shah’s modernising reforms, and shutting down the free press.

In Persepolis , these events are experienced from the perspectives of the Satrapis, a progressive and secular family who believe in equality between the sexes and the classes. They are friendly with their Jewish neighbours, uncommon in a time of extremely hostile Jewish/Islamic relations, attempt (unsuccessfully) to teach their maid to read, drink alcohol on occasion, and are generally opposed to the new regime. They view the establishment of the Islamic Republic as a betrayal of the “leftist” ideals of the Revolution, in which they were active. The Satrapis, in common with many opposition groups and Western powers, drastically underestimate the competence and brutal efficiency of the Islamic regime, initially and repeatedly asserting that the fundamentalists are powerful but incapable of governing. They live in a fraught and complex ideological position. They are passionate defenders of Western notions of reason, freedom of the individual, freedom of religion or irreligion, democratic rule and equality between the sexes. However, they are under no illusions about the hypocritical foreign policy of countries such as America and Britain, and disdain “modern imperialism.”

For the young Marjane, this relationship finds its manifestation in Western popular culture. She listens to Iron Maiden, Michael Jackson and Kim Wilde. The memoir makes numerous references to the phenomenon of punk, a musical genre and lifestyle which erupted in the late 1970s in Britain (in bands such as the Sex Pistols, Siouxsie and the Banshees, the Clash and the Slits), America (the Ramones, Black Flag, X) and Australia (the Saints, Radio Birdman, the Birthday Party, the Go-Betweens). Punk music is characterised by rebellious and ironic lyrics (see “Anarchy in the UK” by the Pistols) and extremely loud, aggressive, guitar-driven music. Ideologically it emphasised rebellion, anti-authoritarianism, equality and personal freedom. Naturally, therefore, it is especially attractive to a free-thinking young woman in a theocratic regime such as Marjane Satrapi. It is also especially reviled by members of the Guardians of the Revolution, the religious and moral police established under the Islamic Republic.

Persepolis explores the fractures and contradictions in Iranian society with nuance and compassion, and with a degree of innocence thanks to the youth of its protagonist. It was critically acclaimed upon release, with commentators pointing to the stylish illustrations as an especially effective way of communicating the story, and adapted by Satrapi and Vincent Paronnaud into an award-winning film in 2007. In 2019 it was listed as one of the hundred best novels of the 21 st Century by the Guardian newspaper.

Persepolis is a graphic novel, and much of the meaning of the text is thus generated through images. Satrapi varies her panel angles from long, mid-range and short in order to convey dramatic or emotional meaning. On page 42, for example, Satrapi conveys the jubilation following the resignation of the Shah in a long crowd scene, stacking revellers vertically to create a sense of liveliness and crowdedness. By contrast, the very first panel is of Marjane alone, staring at the reader and occupying the majority of the panel. There are often close-ups of this sort when Marjane directly addresses the reader, perhaps relaying a dictate of the regime, or providing context.

Satrapi makes use of various sorts of transitions , of theme or setting or style, to create connections or highlight juxtapositions. For example, page 102 transitions from a scene of carnage and devastation, as Satrapi relates the fate of thousands of boys lured onto the battlefields, to an image of her at a party, dressed as a punk, and “looking sharp.” The contrast highlights the disparate worlds of Iran; the poor kids who die in droves in battle, and the rich kids, who dance and party. Connected to the process of transitioning is the use of borders . The borders of panels in a graphic novel define the scene. There are moments in the text where Satrapi eliminates the borders of her slides – such as on page 51, as Siamak recounts the tortures meted out against political prisoners. The graphic images of torture are borderless, suggesting the impact that these descriptions have on Marjane; they transcend their physical and temporal setting and become a part of her life.

The images of torture described above, along with much of the text, are in a fairly graphic and literal style. Many sections of the books are treated in a much more stylised manner. The depiction of the burning Rex Cinema, for example, reimagines the burning victims in a ghostly, spiritual form. Similarly, the full-page panel depicting the Satrapis’ holiday to Spain and Italy is a swirling mix of images of those countries, through which the Satrapis fly serenely on a magic carpet. The pictorial style thus reflects the imagination of Marjane as much as it does physical reality; her depiction of Anoosh with a halo is perhaps the clearest example, along with her imagined conversations with God. These more fanciful depictions often serve as metaphors. The death of Anoosh leaves Marjane feeling “lost” and with no “bearings.” Satrapi conveys the sense of loss by drawing herself floating through space. Another occasion in which the content of the memoir is so extreme that it cannot be done justice by literal depiction is the moment when Marjane spots the dismembered arm of her dead friend in the wreckage of her home. The panel is black, as Satrapi explains that no scream could do justice to what she felt – and neither, the image implies, could any depiction.

Time is not treated in a linear fashion in Persepolis . When Satrapi recalls an earlier event, she may draw a panel depicting that earlier event alongside the contemporary ones. She starts her story in 1980, but then leaps back to her early childhood. This helps place the veil as a central image of the text. It also acts to foreshadow the direction of the Revolution, creating the impression of a cyclical process – as befits the word “revolution,” which in its literal meaning implies a fully circular motion.

Finally, Satrapi blends a variety of styles in her work in order to reflect the variety of influences on Iranian culture, and its subsequent influence on her life. Depictions of the Shah often feature ancient Persian reliefs of kings and warriors, depicting his attempt to revive an ancient form of Iranian culture. At other points Satrapi employs stylised, ornamental swirls to suggest calligraphy. These stylistic variations help build a sense of history behind the text, placing Satrapi’s life in a rich and ancient context.

Repression and Rebellion

Persepolis charts a transition in Iranian society between two equally repressive regimes. The first is the Shah’s, who rose to power in a Western-backed coup decades earlier. The Shah’s regime relied on violent repression to maintain order. When the Revolution of 1979 erupted – unexpectedly – Iranians took to the streets and demanded change. At first the Shah attempts to contain these demands for democracy through violence. For example, he burns down the Rex Cinema (it has never been proven who exactly burnt the cinema down, but there is a reasonable chance that the attack occurred as depicted in Persepolis ), killing around 400 people. Violence only strengthens the resolve of his opposition, however; the night after the conflagration at the cinema Marjane’s parents agree that demonstrations must escalate: “We can’t let things like that happen.” The revolutionary fervour rubs off on young Marji, who attempts to join a demonstration with her maid, Mehri – to her parents’ outrage. They had joined the demonstration in secret, and accidently picked a day characterised by even more violent repression – “Black Friday.”

Characters express optimism about the Revolution as it unfolds. Ebi Satrapi excitedly pronounces that “After a long sleep of 2500 years, the Revolution has finally awakened the people.” The Shah eventually flees and Marjane describes scenes of jubilation as the country had the biggest celebration of its entire history” and her mother proclaims that “the Devil has left” the country. At first, their hope appears to be vindicated: 3000 political prisoners, including old friends and relatives of the Satrapis, are released. However, the reader is already aware that the Revolution will take a darker turn, because the memoir makes use of a non-linear timeline and opens in 1980, in a religious theocracy in which girls and women must wear the veil. One of the themes of repression which begins to emerge in Persepolis is the fundamental similarities between repressive regimes, even if they appear to be ideologically disparate. The chapter entitled ‘The Sheep’ marks the beginning of the Revolution’s transition from anti-authoritarian freedom fight to repressive Islamic theocracy. The liberal, educated observers like Anoosh and Ebi are taken by surprise; Ebi is alarmed at “how ignorant our people are” and Anoosh falls back on Marxist-Leninism to explain what he hopes is a temporary advantage to the religious right: “But the religious leaders don’t know how to govern […] That’s just what Lenin explained in ‘The State and the Revolution.’” Soon afterwards, Mohsen is found dead and Siamak flees with his surviving family (his sister is murdered by the regime) disguised as sheep. Satrapi hints that the real sheep of the chapter may in fact have been the educated and complacent intellectuals, who failed to grasp how successfully the theocrats could gain power.

From here on the book is largely an account of surviving under a new repressive regime. The transition between regimes is seamless. As Marjane recounts: “And that is how all the former revolutionaries became the sworn enemies of the Republic.” Anoosh is executed, universities are closed down, wearing the veil becomes mandatory, dissidence is met with violence and a fully-fledged cultural revolution is instigated. Violence becomes the regime’s deterrent of choice, and speaking out is made too dangerous to contemplate. Thus, it is through smaller, private gestures of rebellion that personal freedom and identity is expressed. Alcohol is outlawed, along with parties, but the Satrapis and their friends risk awful punishment. Celebrating with other people is innate to humanity, and without these opportunities to relax and express themselves, people argue that “we might as well just bury ourselves now.” The Satrapis, being a liberal and partially Westernised family, enjoy illicit wine – although they are almost found out and punished horrifically.

For Marjane, it is Western popular culture that allows her a rebellious outlet. She buys covert tapes of western groups and begins collecting an incredibly eclectic array of musical passions and influences: she listens to Iron Maiden, Camel, Kim Wilde and Michael Jackson, and dresses as a punk rocker. She becomes more rebellious, skipping school at one point (to her mother’s rage), stealing (and failing to enjoy) a cigarette, and arguing with her teachers. Her parents even devise ingenious techniques for smuggling rock posters from Turkey into Iran. Satrapi writes of the Iran she knows, the one behind the headlines which depict a fearful theocratic menace, and depicts the many little rebellions which occur behind closed doors.

Knowledge and Learning

The Islamic Republic is depicted in Persepolis as a regime which relies in part on disinformation and ignorance in order to control its population. Control of universities and schools is thus essential, and the memoir features many instances in which Marjane’s school curriculum is suddenly changed to suit political needs, or when she feels compelled to challenge a blatant lie from her teachers. The universities are temporarily closed throughout Iran; the relevant minister claims that all syllabuses are somehow “decadent” and that it is thus “better to have no students at all than to educate future imperialists.”

The Satrapi family, accordingly, are passionate believers in the importance of knowledge and education, which they see as crucial tools against authoritarianism. “To enlighten me,” Marjane recounts, “they bought books.” She reads up on radical history and European political philosophy. Her father does his best to ensure she has a working knowledge of recent Iranian history so that she can contextualise and better understand the era in which she lives. Ebi is a role model for Satrapi in this regard. His most active role in the streets during the Revolution is to record it for posterity, to collect evidence and to spread knowledge. He does this through photographing the turmoil on the streets. Satrapi makes it clear that this is not an easy or safe option – it is “strictly forbidden” and “he had even been arrested once but escaped at the last minute” (29). Ebi sees the widespread acceptance of the Islamic Regime’s suspiciously high percentage of the vote in the elections following the Shah’s abdication as indicative of “ignorance,” and so he and Taji work to ensure that Marjane is better prepared than many to face the deceptions of power. Marjane is somewhat confused by her mother’s fury at her bludging from school, labelling her a “dictator.” Taji, however, understands that “now is the time for learning,” reminding Marjane that education is not a chore, and nor does it merely give her an advantage over others. Rather, it is a matter of life and death; if Marjane intends to “survive” under the regime, she must smarten up.

Education can bring its own threats to liberty, however. Marjane finds it increasingly difficult to listen to or obey her teachers as it becomes more and more obvious that they merely preach propaganda. She is expelled from one school, and at the next gets into a passionate argument with her teacher. The teacher blithely assures her students that “Since the Islamic Republic was founded, we no longer have political prisoners” (144). Marjane is outraged at this bare-faced lie and challenges her: “We’ve gone from 3000 prisoners under the Shah to 300,000 under your regime… How dare you lie to us like that?” This lands her in trouble with the school, and her father proudly comments that “she gets that from her uncle.” Taji, however, has a slightly more realist outlook: “Maybe you’d like her to end up like him too? Executed?” Marjane finds herself in a dangerous situation for a precocious teenager; her parents have educated her so that she can tell a lie from the truth. However, that knowledge is inherently dangerous in a society which punishes, with extreme violence, the acquisition of knowledge that does not suit their political interests. The Satrapis recognise the danger in which Marjane could so easily find herself and so they decide to privilege her education over other considerations. She needs to learn somewhere where ideas are free to flourish, and where it is safe to flex her audacious and sharply intelligent mind. Marjane’s parents thus decide to send her to study in Austria. She is only fourteen; but as her mother asserts, “above all, I trust your education.”

Gender and Patriarchy

The fundamentalist interpretation of Islam which characterises the Islamic Republic is an extraordinarily repressive and violent kind – especially towards women. The struggle to control women is introduced immediately, in the very first panel of the graphic novel. Marjane is depicted, staring at the reader, in a veil. Satrapi explains that there was a “cultural revolution” which swept through Iran and resulted in the veil being made mandatory. We learn that Taji had to dye her hair and change her appearance after being photographed protesting against the imposition of the veil. The panel depicting her walking, face down, with sunglasses and a scarf, through the interrogating gazes of bearded fundamentalists, is a frighteningly literal depiction of the scrutiny women in the regime are subjected to. Back at school, Marji and her friends also resent the veil, and Taji is shocked at how unrecognisable the veil makes her on her passport photo. It is an imposition which becomes symbolic of the attack against freedom throughout the novel.

It was imposed, in part, by a male, patriarchal order – but the religious zealots determined to control the bodies of women were not exclusively male. Indeed, when Satrapi recounts the streets being full of protests for and against the veil, the pro-veil crowd are depicted entirely as being women. Similarly, it is the women’s branch of the Revolutionary Guard who accost Marjane as she walks through the streets dressed as a punk. They police her clothing and threaten to whisk her away to their dreaded Headquarters. “Lower your scarf, you little whore!” one of the Guardians snarls.

The sexualised language employed by the Guardians is borrowed from their male counterparts, and is typical of the manner in which women are regulated under the regime. This can make parts of Persepolis very difficult to read. The fate of Niloufar, an eighteen-year-old Communist who falls foul of the regime, marks the extent to which women have become chattel: she is “married” – that is, raped under the guise of a ceremony – and executed, and a pathetic dowry equivalent to five dollars sent to her relatives. Marjane’s own mother is accosted by thugs for not wearing the veil, and again the language is that of sexual control and violence: “they said that women like me should be pushed up against a wall and fucked, and then thrown in the garbage.” Such scenes of course also highlight the hypocrisy, which would be absurdly amusing if it wasn’t so horrific, of the mentality of the regime: this sort of bestial violence is justified because without veils women are allegedly not “civilised” enough.

It is not just physical violence which restricts women under the new regime, however. More insidious but just as destructive is the limiting of opportunities. When Marjane learns of the university closures, she is distraught. She will not be able to follow in the footsteps of her hero, Marie Curie: “Misery! At the age that Marie Curie first went to France to study, I’ll probably have ten children.” It is this imagined fate which makes Marjane’s move to Austria so vitally necessary.

The Iran-Iraq War of the early 1980s forms the backdrop to much of the first part of Persepolis . The war is ignited when Iraq invades; it is prolonged, however, by Iran, for the purposes of control. When the fighting begins, Marjane is all fire and brimstone: “We have to bomb Baghdad!” she cries. Her belligerence is soon tempered by the growing realisation that Iran is depending on the war to rally its people around the new regime. Belligerent slogans are painted on walls; the (theoretically) banned Iranian national anthem is broadcast, and the girls in Marjane’s school are compelled to engage in bizarre ritualistic mourning. The newspapers devote pages to the swelling ranks of martyrs. Iran suffers heavy casualties, but has a vast population to draw upon. Their techniques disturb Marjane. Young boys are sent a key – representing the key to Paradise available to martyrs slain in battle – and then enlisted. Shahab explains exactly how the military whips these inexperienced boys into a frenzy:

They come from the poor areas, you can tell… first they convince them that the afterlife is even better than Disneyland, then they put them in a trance with all their songs.

The result is “absolute carnage.” A peace is actually offered, with generous terms, by Iraq, and Saudi Arabia offers to pay for reparations. However, “the survival of the regime depended on the war,” and so Iran refused the “imposed peace” and commit to more unnecessary bloodshed. The regime becomes more repressive, and mass executions become common. Persepolis lays bare the reality of sabre-rattling regimes; their real enemy is usually their own people. As Ebi chastises his warmongering daughter, “The real Islamic invasion has come from our own government.”

Family and Childhood

The first part of Persepolis is entitled The Story of a Childhood and that, primarily, is what it is. Marjane’s family has an immense impact on her life, providing her with the freedom and self-awareness to develop a strong individual personality. Her childhood is a mixture of competing impulses: “Deep down I was very religious but as a family we were very modern and avant-garde.” When as a young girl she decides she is destined to be a Prophet of Islam, her parents angrily defend her against the worries of her teachers. They buy her books and encourage her always to think freely and critically. Ultimately they make an extremely painful decision: to send Marjane away from them to Austria. As hard as it is, they do this out of love: they hope Austria will be safer and freer for her.

Marjane must grow up quickly in a world which does not leave much room for the innocence of childhood. Before she is fourteen, she has her parents threatened, must flee a violent demonstration, has an uncle executed and a friend’s house bombed. This last, an incident which kills the entire household of her neighbours, is described in a single, black panel: “No scream in the world could have relieved my suffering and my anger.” Marjane grows up experiencing traumas that children should not have to experience. Although she clashes with her parents frequently, she does find solace in the stability of her family and their connection to the past, pledging to Anoosh that she will never forget the suffering of the Satrapis. The final advice Marjane is given from various family members is to stay true to herself and to remember where she came from – and whom she came from. Persepolis is as much a testament to the bravery, character and love of her family as it is a story of an individual girl.

• “At one of the demonstrations, a German journalist took a photo of my mother. I was really proud of her.” (5) Satrapi demonstrates depicts her younger self being inspired by her dissident and free-thinking other early in the graphic novel.
• “After a long sleep of 2500 years, the Revolution has finally awakened the people.” (11) Marjane’s father, Ebi, teachers her to view contemporary politics in the context of thousands of years of history, better allowing her to critique the justifications for power employed by regimes.
• “Now that the devil has left!” (43) Like millions of Iranians, the Satrapis are delighted at the Shah’s abdication. However, Satrapi foreshadows the emergence of a new repressive regime by depicting the metaphorical devil derided by her mother curling around the frame of the panel, as if closing in to further tighten its grip.
• “I never imagined that you could use that appliance for torture.” (51) The discussion between the Satrapis and their old friends Siamak and Mohsen has a profound influence on Marjane, who was taught at school that the Shah governed by divine right. She now understands that the Shah’s power actually depended on extraordinary brutality.
• “All torturers should be massacred!” (52) The personal politics of oppression are deeply confusing for Marjane, as her own mother, who spoke regularly of the value of mercy and forgiveness, cries out for the slaughter of torturers. Gradually Satrapi comes to understand that there are no easy or correct ways of processing anger and the desire for revenge.
• “And that is how all the former revolutionaries became the sworn enemies of the republic.” (67) Satrapi illuminates the fundamental similarities between all repressive regimes by demonstrating how the new Islamic regime quickly hunted down and eliminated the men and women who had challenged the rule of the Shah.
• “Without parties, we might as well bury ourselves now.” (106) The Islamic Republic uses horrific violence to prevent public forms of disobedience, so the people of Iran must find private ways to escape and rebel. In this quote, Satrapi presents the idea that perhaps some things, like celebrations, are so fundamental to humanity that they are worth risking death – because without them one would be as good as dead.
• “Those who opposed the regime were systematically arrested… and executed together.” (117) Using war as an excuse for brutality, the new Iranian regime focuses on solidifying its power and slaughtering anyone who could possibly oppose it. This quote highlights the fact that repressive regimes are fundamentally built on violence.
• “All bilingual schools must be closed down.” (4) Within the opening pages of Persepolis Satrapi makes it clear that regimes depend in part on brainwashing children whilst they are young. Primary schools are targeted as the perfect sites for teaching propaganda and instilling strict gender norms; boys and girls are thus separated from one another.
• “To enlighten me, they bought books.” (12) Satrapi’s parents believe in the value of education and the written word, and thus decide that arming Marjane with books is the best way to prepare her for the tumultuous political future facing the country. From her books she learns about revolutionaries and develops a strong sense of social justice.
• “Children, tear out all the photos of the Shah from your books.” (44) Symbolic attempts to erase history occur in Marjane’s school. Marjane’s father is usually careful to ensure that his daughter understands current events in their historical context, and Marjane challenges the teacher’s hypocrisy – and is punished. Marjane begins to realise that she cannot trust her country’s education system.
• “The Ministry of Education that universities will close at the end of the month.” (73) The new Islamic regime depends on unquestioning – and even better, unthinking – obedience. For this reason, universities, which at their best teach their students to challenge accepted ideas and power structures, are targeted and closed. Thus, physical violence is coupled with softer forms of control, such as control over what information and knowledge can be accessed.
• “Now is the time for learning… In this country you have to know everything better than anyone else if you’re going to survive!!” (113) As the situation becomes darker in Iran, Marjane’s mother emphasises the importance of education even more firmly, arguing that it is the single most important tool for survival.
• “Above all, I trust your education.” (147) Finally, the Satrapis decide that Marjane’s fiery temperament and love of knowledge have rendered Iran a dangerous place for her to stay. In order to make sure she can learn more freely they send her to Austria – trusting the knowledge they have given her will keep her safe.
• “We didn’t really like to wear the veil, especially since we didn’t understand why we had to.” (3) Satrapi opens her memoir as a ten-year-old girl, confused by a strange new requirement. The introduction of the veil becomes symbolic of the repression of women throughout Persepolis , is included this early in the context of a schoolyard in order to demonstrate the strangeness of religious law in its intersection with childhood.
• “Everywhere in the streets there were demonstrations for and against the veil.” (5) Whilst clearly used by men as a way of regulating the behaviour of women, the imposition of veil-wearing in Iran was supported by some women, suggesting that Iranian society is complex and divided.
• “I wanted to be an educated, liberated woman, and if the pursuit of knowledge meant getting cancer, so be it.” (73) Marjane takes as one of her many idols the great scientist Marie Curie, demonstrating her fundamentally progressive and egalitarian nature – and the threat posed to her dreams by the at times brutally misogynistic regime which rises to power in Iran following the Revolution.
• “They said that women like me should be pushed up against a wall and fucked. And then thrown in the garbage. And that if I didn’t want that to happen, I should wear the veil.” (74) Marjane’s mother is subjected to the brutally misogynistic threats that the regime and its sympathisers employ in order to intimidate and silence women.
• “Compared to Iraq, Iran had a huge reservoir of potential soldiers. The number of war martyrs emphasised that difference.” (94) In a darkly ironic moment, Satrapi reveals the horrible truth at the heart of the Iran/Iraq War – the only advantage held by Iran is the sheer number of its men it can have killed. Satrapi uses that fact to highlight the senseless and self-destructive nature of war.
• “They put on funeral marches, and we had to beat our breasts.” (95) Satrapi depicts the role of ritual in brainwashing a population into uncritically accepting warfare. She achieves this by drawing rows of barely distinguishable girls in veils staring, wide-eyed and clearly somewhat bewildered, straight at the reader, with splash effects around their hands emphasising the physical nature of the ritual. The image highlights the intention behind the ritual: to enforce social conformity.
• “It’s nuts! They hypnotise them and just toss them into battle. Absolute carnage.” (101) Shahab recounts the manner in which young men are brainwashed and hypnotised. They are tempted with the prospect of a glorious afterlife and them put into a “trance” with patriotic songs. Above all, Satrapi emphases that the regime picks the young and ill-educated, people most likely to be impressionable, and thus creates the illusion of patriotism. This is part of the reason why Marjane’s parents value education so highly.
• “They eventually admitted that the survival of the regime depended on the war.” (116) The Iranian regime depends on distracting the population from its own atrocities with the war, and by justifying its oppressive tactics by claiming that they are necessary in wartime. Marjane feels “sick” when she realises that up to a million people have died simply so that the authoritarian regime of Iran can cling onto power.

Childhood and Family

• “Deep down I was very religious but as a family we were very modern and avant-garde.” (6) Marjane Satrapi was born into an essentially secular family, and, as this quote shows, she spent many years grappling with religion and secularism before eventually abandoning her faith.
• “The emperor that was overthrown was Grandpa’s father.” (22) The revelation that the Satrapis are descended from what was at one point royalty is important for two reasons. Firstly, it helps the young Marjane understand her place in history, relate current events to the past, and understand some of what her family has suffered. Secondly, it demonstrates the fact that the Satrapi family believed in the importance of knowledge. Ebi gives this knowledge to his daughter so that she might better understand the world around her.
• “During the time Anoosh staid with us I heard political discussions of the highest order.” (62) Marjane learns much of the history and political situation of Iran from her family. She is particularly inspired by her uncle Anoosh, whom she terms a “hero,” and his execution by the Islamic regime is a deeply distressing moment of disillusionment for her.
• “Dictator! You are the Guardian of the Revolution of this house!” (113) The education and passion for freedom instilled in Marjane by her parents at times puts her at odds with them. For example, she cannot fully understand why her mother, who seems so rebellious in other areas of her life, should be furious that Marjane has skipped school. The answer is of course that she understands how crucial knowledge is to survival in regimes like the Islamic Republic, even if Marjane is too young to see that yet.
• “No scream in the world could have relieved my suffering and my anger.” (142) The death of the Baba-Levys, the Jewish neighbours of the Satrapis, is one of several turning points in Marjane’s life. Still a young girl, she has heard tales of torture from family friends, had an uncle murdered by the Islamic Republic, been threatened by religious police, and now lost a friend to the war. Satrapi depicts the emotional devastation suffered by children in war zones by simply drawing a black square – emphasising the impossibility of a child truly reconciling themselves with this sort of tragedy.“We feel it’s better for you to be far away and happy than close by and miserable.” (148)Marjane’s parents ultimately demonstrate the depths of their love for their daughter by sending her to Austria in order to be safer, freer, and better educated. This is painful for them, and the final image of the first part of Persepolis is of Marjane staring, horrified, at her fainting mother.

Marjane Satrapi

Marjane Satrapi is nine years old at the outbreak of the Iranian Revolution in 1979. Persepolis is told from her perspective as she navigates childhood and adolescence in a world which continuously shifts under her feet. The memoir opens with an image of her staring directly at the reader, wearing a veil. One of the main themes of the graphic novel, Marjane’s attempt to understand her changing world as she grows up in it, is captured in her early statement of confusion about the way her society has suddenly changed: “We didn’t really like to wear the veil, especially since we didn’t understand why we had to.”

As a young child, Marjane exhibits the symptoms of Iran’s rich and occasionally contradictory culture. She has a strong spiritual side to her nature, but describes her family as “very modern and avant-garde.” She convinces herself, as a six-year-old, that she is destined to become the next great prophet of Islam – although she takes as much if not more inspiration from the ancient Persian religion of Zoroastrianism. Between her secular parents, ancient Zoroastrian past, and predominantly Muslim contemporary society, Marjane finds herself fusing a number of philosophies together. When the Revolution begins, she turns to politics and political philosophy, drawing inspiration from the revolutionaries of her own country as well as further afield, and from Marxist notions of dialectical materialism. She develops a strong sense of social justice, especially regarding her maid, Mehri, whose romance with a neighbour is broken off after her true social status is revealed.

Marjane grows increasingly forthright and passionate over the course of the memoir. Her growing political awareness is, however, frequently tempered by moments of profound disillusionment. The execution of her beloved uncle Anoosh is one such moment. Her attitude towards war is also forced to develop in complexity. At the outbreak of the Iran-Iraq War she is very belligerent, calling for retaliatory strikes against Iraq and initially angry that her father has no interest in signing up to fight. As the war drags on and she learns about Iran’s techniques, however, she becomes increasingly disillusioned. She learns of the brainwashing and trickery employed by the military to encourage young boys to fight, and then comes to realise that Iran has rejected generous peace terms because the regime has become dependent on using the war as justification for its draconian measures. The thought makes her feel “sick,” and she reflects that “A million people would still be alive” had the regime accepted the peace offered by Iraq and supported by Saudi Arabia.

As her views develop, Marjane becomes increasingly rebellious. She dons Western fashions until caught by the Guardians of the Revolution, and covertly buys illicit tapes of American pop groups. She is frequently disobedient and contrarian at school, challenging teachers and speaking her mind. Admirable as it is, this disobedience eventually sees her expelled. Her parents decide that her rebellious nature and thirst for knowledge should be nurtured somewhere safer, and so they send her to study in Austria.

Taji Satrapi

Marjane’s mother is surely a crucial influence on the young girl. A thoroughly modern woman with no time for religious dictates, we first encounter Taji Satrapi at a rally against the imposition of the veil (and in the second part to Persepolis it is revealed that Taji’s favourite writer is the French feminist Simone de Beavoir). This introduction to her character highlights the two sides to Taji which have a decisive impact on her relationship with her daughter over the course of the book. She is clearly idealistic, passionate, and happy to stand up for her rights. After she is photographed at a rally, however, and that photograph is picked up and printed by papers all over the world, she dies her hair and makes other efforts to disguise herself. She is thus also deeply pragmatic. She instils in Marjane a strong sense of equality and personal freedom, but confuses the young girl when she cracks down on her for skipping school. Taji stresses that survival under regimes such as the Islamic Republic require education and pragmatism. When Ebi, her husband, is initially proud of Marjane for getting herself expelled, Taji angrily reminds them both that Anoosh, Ebi’s brother, paid the ultimate price for his rebellious nature.

For all that their relationship is occasionally fraught, Taji is a loving and devoted mother to Marjane. Despite occasional (and given the context, justified) outbursts of vengeful rage, she always stresses the importance of compassion and forgiveness to her daughter: “It is not for you and me to do justice,” she tells her daughter after Marjane discovers that the father of a classmate worked in the secret police under the Shah. “I’d even say we have to learn to forgive” (46). It is an important lesson that Marjane tries to take to heart.

Ebi Satrapi

Ebi Satrapi, Marjane’s father, is in some ways the epitome of the westernised Iranian. He drives a Cadillac, listens to Pink Floyd, drinks alcohol and deplores Islamic theocracy. However, he is not naïve or in any way ignorant to the evils of the Western world, either; he takes what he sees as the best elements of both worlds and reconciles them. This act of synthesis is characteristic of Ebi, and at times contradictory; he is a devoted Marxist but enjoys a privileged life, including the employment of a maid whose romance he scuppers by revealing her social status.

Ebi, like Taji, is a strong believer in the power and value of education. He buys books for his household in their scores and he carefully relates the historical background of the Revolution to Marjane. He is a radical, friendly with political prisoners such as Mohsen and Siamak (and of course his own brother, Anoosh). He participates in the demonstrations against the Shah, and, characteristic of a man to whom knowledge and education is so important, contributes by recording events for posterity, taking photos of the turmoil in the streets even though such an act is “strictly forbidden.” He is cautious, and teaches Marjane not to trust the word of the regime, insisting instead on double-checking every item of news with the BBC. He is earnest and politically passionate but also has a wry sense of humour; when a belligerent Marjane complains that the Iraqis are historic enemies of Iran eager to invade, her father replies, “And worse, they drive like maniacs.” He even admits, to Taji’s disgust, to being fond of Iron Maiden.

Ebi Satrapi does his best to prepare his daughter for life, and to make sure she is equipped to fight ignorance and prejudice where she finds it. His portrayal in Persepolis , like Taji’s, is sympathetic and very warm.

Marjane’s Grandmother

Marjane takes inspiration from her maternal grandmother, whose husband was connected to the aristocracy prior to the Shah’s regime. When he was arrested, she was left to raise her children alone and in poverty. She is warm and unfailingly kind, with a keen sense of humour, positing herself as “Grandma Martyr” as she laughs along to an anecdote from Ebi about an old woman who is mistakenly identified as the widow of a revolutionary martyr. She is also quick-witted and resourceful; when Revolutionary Guards come to investigate the Satrapi family home, suspecting there to be alcohol inside, she convinces one of the guards that she must enter immediately because she has diabetes and requires sugar syrup. She then quickly disposes of the illicit beverages.

Marjane’s grandmother has many of the same characteristics as Ebi and Taji, in terms of kindness and political convictions. In one of her longer pieces of dialogue, the night before Marjane flies away, she gives her granddaughter powerful words of advice:

In life you’ll meet a lot of jerks. If they hurt you, tell yourself that it’s because they’re stupid. That will help keep you from reacting to their cruelty. Because there is nothing worse than bitterness and vengeance… always keep your dignity and be true to yourself. (150)

Although not always kept by Marjane over the two graphic novels, these words form something like the moral of Persepolis , and they ring throughout the introduction Satrapi writes.

Uncle Anoosh

Anoosh is a paternal uncle of Marjane’s. He is a long-time political radical whose persecution led to him fleeing to the U.S.S.R, where he started a family, eventually separated from his wife and tried to return to Iran. In Iran he was arrested and imprisoned for nine years. He and Marjane develop a close bond in the short time they have together. As the situation in Iran darkens, Satrapi depicts Anoosh’s slow loss of optimism, as his refrain of “Everything will be alright” grows more and more despondent. He tells Marjane that it is important that she never forgets the past, and never forgets the suffering of their family. She pledges that she will not.

When Anoosh is eventually arrested and executed as a “Russian spy,” his death leaves Marjane “lost.” It is one of the first traumatic encounters she has with the regime, having been insulated from much of the turmoil thus far. Her pledge to never forget the lives taken by various regimes is one of the cornerstones of Persepolis .

Siamak Jari and Mohsen Shakiba

Simak and Mohsen are two of the 3000 political prisoners released after the fall of the Shah. They recount the horrors they endured as political prisoners and thus introduce Marjane for the first time to some of the realities of repression. She is horrified at their descriptions of the tortures meted out to them.

Once the Islamic Republic is established, enemies of the old regime are quickly marked out as enemies of the new regime. Mohsen is found drowned in his bathtub – with only his head submerged, clearly demonstrating that it was an act of murder. The Revolutionary Guard arrive at Siamak’s house, but he had already fled with his immediate family, across the border, disguised as sheep. His sister was murdered in his place.

The encounters with Siamak and Mohsen are brief, but they are important. Their murders (or attempted murders) mark a turning point in the regime, as it becomes explicitly violent and repressive. Their presence in Marjane’s life mark the increasing presence of the regime in her life also.

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Student Prompt: Write a short (1-3 paragraph) response using one of the below bulleted outlines. Cite details from the play over the course of your response that serve as examples and support.

1. Throughout the novel, Marjane’s personal faith collides with the revolution in Iran.

• How is Marjane’s personal faith different from the ideals espoused by the Revolution? ( topic sentence )
• Find three examples in which her personal faith and the Revolution do not align.
• To conclude, discuss how her relationship with God changes or stays the same by the end of the novel.

2. Throughout the novel, Marjane is concerned with her father’s patriotism for Iran as well as his heroism as compared with her peers’ fathers.

• What type of actions does Marjane consider to be heroic? ( topic sentence )
• Identify three examples in which Marjane is concerned with her father’s heroism .
• Conclude by discussing whether Marjane believes her father is a hero at the end of the novel and why or why not.

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Persepolis: The Story of a Childhood

By marjane satrapi, persepolis: the story of a childhood essay questions.

How would you describe Marjane's interaction with Western culture?

Though she is born and raised for much of her life in Tehran, Marjane Satrapi is as much a product of Western culture as of Middle Eastern culture. Her parents both ascribe to Western political viewpoints and are not reluctant to let their daughter indulge in Western popular culture. One of the major reasons that Marjane is sent to Europe at the novel's end is because her parents feel as though she can no longer sustain the Western style of education that her parents want for her.

Whom do you think is described as the bigger enemy in the novel -- the Shah or the Islamic regime that takes control after the Shah?

Both the Shah and the Islamic fundamentalist regime are characterized as bad rulers of the Iranian people and it is difficult to say which was worse for the Iranian people. Satrapi seems to say that each regime is one side of the same coin. The Shah was brutal to his people, imprisoning many of the political dissidents, in his attempt to maintain power and to serve Western interests. The Islamic regime used the same brutality for the same reasons in order to propagate a pure Islamic state.

Discuss the theme of matriarchy in Persepolis .

Satrapi's novel is written from a feminist perspective, and thus the matriarchal side of her family features prominently in the story. Marjane's grandmother, as represented by her strength in caring for her children and her wisdom of peace and forgiveness, is the novel's chief matriarch. The end of the novel is a poignant scene in which Marjane falls into her grandmother's bosom and is sent out into the world with the mantle of matriarch now upon her.

Do you think that Marjane's father was a "resigned" individual, as Marjane claims in the novel?

Marjane has a complex view of her father throughout the novel. In many instances, one can see how she truly looked up to her father for holding controversial political views and for risking his safety in protests to overthrow the Shah. Marjane also sees her father has having the personality of "resignation," something she calls a Persian trait. He adamantly proclaims that he will not fight against Iran in the war and Marjane is disappointed that her father is not a tortured political hero as were Siamak and Mohsen.

How does the social class of Marjane's family conflict with their political views?

Marjane's family is a member of Iran's middle class. Her father has a good job as an engineer and they are able to keep a maid for the house, drive nice cars, take vacations, and give their daughter an excellent education. This privilege would seem to conflict with their political views, however. The family maintains a long familial heritage as leftist political activists. Many of Marjane's family members were imprisoned or killed for their beliefs. This dissonance between political belief and practice is a central tension of Marjane's childhood.

Discuss the symbolism of jewels and jewelry throughout the novel.

In several scenes of the novel, jewels represent the feminine. They are precious objects of great value. However, they are also easily bought and sold, as in the case of Mali and her family. Mali's jewels are sold in order for the family to survive their great loss in the Iraqi bombings. At the same time, Mali's life is seen as devalued by the other women Tehran because she is now a refugee. The loss of value of such beautiful, rare objects is mirrored in the devaluing of female identity under the Islamic regime.

In the novel's first scene, Marjane shows a photo of her elementary school class. She, however, is cut out of the picture. Why does Satrapi begin the novel with this imagery?

Persepolis can be read as one young girl's journey to find her own identity in the war torn, repressive Middle Eastern culture in which she grows up. By beginning the novel with this scene of a school photo, Satrapi is representing the fact that her Western self (the perspective from which she writes) is only half of her identity. The other half of her identity is found in Iran, a country that literally and figuratively attempts to hide away the identities of its women. Marjane's full identity, therefore, cannot be fully understood as long as a repressive fundamentalist spirit rules the country.

Some critics of the novel have claimed that Satrapi's view of Iran is too one-sided. Why or why not do you believe this is true?

Satrapi has been criticized for writing Persepolis from a Western perspective. In these critic's estimation, Marjane is as much a product of Western culture - Western education, Western politics, Western popular culture - as she is a part of her Middle Eastern milieu. This leads Satrapi to be overly critical of all who would ascribe to conservative Islamic practice. Her viewpoint, thus, correlates all conservative Muslims with the brutality of the Iranian fundamentalist regime. This criticism can be seen as unfair, however, if one reads Satrapi's novel chiefly as a political novel and not as a commentary on religion.

What symbolism does Satrapi give to cigarettes in the novel?

For Satrapi, a cigarette is first a symbol of adulthood and the freedom and independence that comes with being able to smoke. Marjane secretly sneaks away to her basement hideout to smoke a cigarette that she had stolen from her uncle. This, she claims, is her first act of adult independence. Her Uncle Tehar's smoking habit, however, represents the fact that both smoking and adulthood come with serious problems and consequences. Tehar is emotionally torn by his decision to send his son away to Holland while he is physically torn from the damage that smoking has done to his body.

Why does Satrapi think that the Islamic regime was able to gain control of Iran after the 1979 Revolution?

Through the characters of her father and uncle, Satrapi explains that the Revolution had been the product of a vocal minority while the majority of Iranians needed some kind of symbol to guide them and lead them. This allowed the Islamic religious leaders to take control of the country. Satrapi blames this on the people's lack of education. The people have faith only in religion, not in political ideals. Satrapi's uncle believes in the novel that the religious leaders will have no interest in leading the nation, yet this proves not to be the case.

Persepolis: The Story of a Childhood Questions and Answers

The Question and Answer section for Persepolis: The Story of a Childhood is a great resource to ask questions, find answers, and discuss the novel.

“The Veil”: How was education affected by the new regime? Why?

Check this out below.

https://www.gradesaver.com/persepolis-the-story-of-a-childhood/study-guide/summary-introduction-the-veil-and-the-bicycle

Persepolis is a graphic novel. Why do you think Satrapi chose this genre to tell her story?

As a graphic novel, it purposefully rejects the Islamic tenet that there should be no iconic representations of the faith. It boldly denounces the brutality of the regime and calls into question the legitimacy of its rule. The book challenges the...

. Why did Marji’s family continue to hold parties despite the danger?

The Satrapis hold a party to celebrate Marjane’s aunt and the birth of her child. The parties are necessary because “without them it wouldn’t be psychologically bearable....”

Study Guide for Persepolis: The Story of a Childhood

Persepolis: The Story of a Childhood study guide contains a biography of Marjane Satrapi, quiz questions, major themes, characters, and a full summary and analysis.

• About Persepolis: The Story of a Childhood
• Persepolis: The Story of a Childhood Summary
• Character List

Essays for Persepolis: The Story of a Childhood

Persepolis: The Story of a Childhood essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Persepolis: The Story of a Childhood by Marjane Satrapi.

• Unconventional Autobiographies: Arabesques and Persepolis
• The Gray Area Dialogue: An Analysis of Western Perspective in Satrapi’s Persepolis
• Persepolis: A Bildungsroman
• Nationalism in the Questionable Legitimization of Conflict in Satrapi’s Persepolis
• Persepolis and Martyrdom

Lesson Plan for Persepolis: The Story of a Childhood

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Persepolis: The Story of a Childhood
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Persepolis: The Story of a Childhood Bibliography

Wikipedia Entries for Persepolis: The Story of a Childhood

• Introduction

Home — Essay Samples — Literature — Books — Persepolis: The Story of a Childhood

Essays on Persepolis: The Story of a Childhood

"Persepolis: The Story of a Childhood" by Marjane Satrapi is a poignant graphic memoir that narrates the author's experiences growing up during and after the Islamic Revolution in Iran. The book explores themes of identity, cultural conflict, political oppression, and the struggle for personal freedom. Through the lens of Satrapi's childhood, readers gain insight into the complexities of Iranian society and the impact of political upheaval on individuals and families. The blend of personal narrative and historical context makes "Persepolis" a rich text for exploration in essays, providing numerous compelling Persepolis essay topics for students and scholars to analyze.

Choosing a Topic for a "Persepolis" Essays

When selecting a topic for an essay on "Persepolis," consider the following steps:

• Identify Key Themes: Focus on major themes in the book such as identity, resistance, family, and cultural conflict.
• Analyze Character Development: Examine how Marjane and other characters develop throughout the story in response to the events around them.
• Choose the Type of Essay: Decide on the type of essay you wish to write. This could be analytical, narrative, descriptive, argumentative, or comparative.
• Research and Relevance: Ensure there is enough research material available on the chosen topic. The topic should also be relevant and engaging to your audience.
• Personal Connection: If applicable, select a topic that you have a personal connection with or a strong interest in.

"Persepolis: The Story of a Childhood" Essay Topics

Character analysis.

• Analytical: Analyze the development of Marjane's identity throughout the memoir.
• Narrative: Write a narrative from Marjane's perspective, focusing on a pivotal moment in her childhood.
• Comparative: Compare Marjane's character development with that of another character in the book, such as her grandmother.
• Descriptive: Describe the role of Marjane's parents in shaping her worldview.
• Argumentative: Argue whether Marjane's rebellious nature is a result of her upbringing or the political environment.
• Analytical: Analyze the theme of resistance in "Persepolis" and how it is portrayed through different characters.
• Narrative: Write a narrative essay on how the theme of cultural conflict is presented in Marjane's experiences.
• Comparative: Compare the theme of identity in "Persepolis" with that in another coming-of-age story.
• Descriptive: Describe how the theme of family is central to Marjane's story.
• Argumentative: Argue the importance of the theme of freedom in "Persepolis."

Historical Context

• Analytical: Analyze how the Islamic Revolution is depicted in "Persepolis" and its impact on the characters.
• Narrative: Narrate the events of the Islamic Revolution from the perspective of a secondary character in the book.
• Comparative: Compare the depiction of political oppression in "Persepolis" with another graphic novel or memoir.
• Descriptive: Describe the historical context of Iran during Marjane's childhood.
• Argumentative: Argue the role of historical accuracy in graphic memoirs like "Persepolis."

Graphic Novel Elements

• Analytical: Analyze the use of visual elements in "Persepolis" to convey themes of fear and oppression.
• Narrative: Write a narrative essay on how the graphic format enhances the storytelling in "Persepolis."
• Comparative: Compare the graphic style of "Persepolis" with another graphic novel.
• Descriptive: Describe the significance of black and white imagery in "Persepolis."
• Argumentative: Argue the effectiveness of the graphic novel format in depicting complex political and personal narratives.

Social Issues

• Analytical: Analyze the portrayal of gender roles and expectations in "Persepolis."
• Narrative: Write a narrative about how Marjane's experiences highlight issues of social justice.
• Comparative: Compare the social issues depicted in "Persepolis" with those in another memoir from a different culture.
• Descriptive: Describe the impact of war on everyday life as shown in "Persepolis."
• Argumentative: Argue the importance of graphic memoirs in raising awareness about social issues.

Personal Growth

• Analytical: Analyze how Marjane's understanding of personal freedom evolves throughout the memoir.
• Narrative: Narrate an essay focusing on Marjane's journey of self-discovery.
• Comparative: Compare Marjane's personal growth with that of another character in "Persepolis."
• Descriptive: Describe the moments that significantly contributed to Marjane's personal growth.
• Argumentative: Argue the role of adversity in shaping Marjane's character.

Choosing a topic for a "Persepolis: The Story of a Childhood" essay involves identifying key themes, analyzing character development, and selecting an essay type that best fits your narrative. Whether you explore the themes, historical context, graphic novel elements, social issues, or personal growth depicted in the memoir, it is essential to provide a thoughtful and engaging examination of how these elements shape the story. By carefully selecting and researching your topic, you can create a compelling essay that highlights the depth and significance of Marjane Satrapi's work.

Persepolis Thesis Statements

Here are five insightful Persepolis thesis statements for essays on Marjane Satrapi's graphic memoir:

• Identity and Cultural Conflict: "In 'Persepolis: The Story of a Childhood,' Marjane Satrapi explores the complexities of identity formation amidst cultural conflict, illustrating how personal and national identities intersect and clash during the Islamic Revolution in Iran."
• Political Oppression and Personal Freedom: "Satrapi's 'Persepolis' poignantly depicts the impact of political oppression on individual freedom, highlighting the resilience and defiance of the human spirit in the face of authoritarianism and societal restrictions."
• Gender and Social Change: "Through the experiences of young Marjane, 'Persepolis' addresses the evolving roles and expectations of women in Iranian society, critiquing the gender inequalities that persist despite social and political upheavals."
• The Role of Family in Shaping Identity: "In 'Persepolis,' Satrapi emphasizes the crucial role of family in shaping one's identity and beliefs, demonstrating how familial support and values can provide a foundation for personal growth and resistance against external pressures."
• The Power of Graphic Narrative: "Satrapi's use of the graphic memoir format in 'Persepolis' enhances the emotional and visual impact of her story, effectively conveying complex themes and historical contexts through a blend of visual art and narrative storytelling."

Persepolis Essay Prompts

Here are some thought-provoking essay prompts for Marjane Satrapi's graphic memoir "Persepolis: The Story of a Childhood":

• How does Marjane Satrapi use visual elements in "Persepolis" to enhance the narrative and convey complex emotions and themes? Provide specific examples from the book.
• Discuss the theme of identity in "Persepolis." How does Marjane's understanding of her identity evolve throughout the memoir, and what factors influence this evolution?
• Analyze the depiction of political oppression in "Persepolis." How does Satrapi portray the impact of the Islamic Revolution on individuals and families, and what messages does she convey about resistance and resilience?
• Examine the role of family in Marjane's life as depicted in "Persepolis." How do her relationships with family members shape her worldview and actions?
• Explore the theme of gender in "Persepolis." How does Satrapi address gender roles and expectations in Iranian society, and what commentary does she offer on the experiences of women and girls during the Islamic Revolution?
• How does "Persepolis" blend personal narrative with historical context? Discuss how Satrapi uses her own experiences to shed light on broader social and political issues in Iran.
• Discuss the significance of cultural conflict in "Persepolis." How does Marjane navigate the tensions between her Iranian heritage and the influences of Western culture?
• Analyze the motif of rebellion in "Persepolis." How does Marjane express her defiance against societal norms and political restrictions, and what does this reveal about her character?
• How does "Persepolis" address the theme of education? Discuss the different forms of education Marjane receives and how they influence her development and understanding of the world.
• Examine the impact of war on Marjane and her community as depicted in "Persepolis." How does Satrapi portray the psychological and emotional effects of conflict on children and families?

Trauma in Persepolis: a Catalyst for Change

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Marjane Satrapi's Novel Persepolis: Theme

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Black and White Colors in "Persepolis" by Marjane Satrapi

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The Theme of Martyrdom in Persepolis

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2000-2003, Marjane Satrapi

Autobiography, Graphic Novel

Marjane (main character), Mr. Satrapi (Marjane's mother), Mrs. Satrapi (Marjane's father), Marjane's Grandmother, Uncle Anoosh, Mehridia, Khosro

The memoir follows Marjane Satrapi's life from ages six to fourteen in Tehran, Iran, during the Islamic Revolution. Through her eyes, we witness the overthrow of the Shah's regime, the triumph of the Islamic Revolution, and the devastating effects of the Iran-Iraq War. As Marjane grows up, she struggles with the restrictions imposed by the new regime, her own rebellious nature, and the challenges of finding her identity amid political turmoil.

• Identity and self-discovery
• Political oppression and resistance
• Gender roles and the status of women in society
• Cultural conflict between tradition and modernity
• The impact of war on individuals and families
• The Veil: Represents the imposition of strict religious and cultural norms on women and the loss of personal freedom.
• Western Culture: Symbolizes rebellion and the desire for freedom, as well as the clash between Iranian traditions and Western influences.
• Family Photographs: Serve as a motif for memory, identity, and the passage of time, highlighting the personal impact of historical events.
• The Key: Symbolizes the promise of martyrdom and paradise used by the regime to manipulate young boys into fighting in the war.
• Marjane's Dreams: Reflect her inner desires, fears, and conflicts, providing insight into her subconscious mind and emotional state.

"Persepolis: The Story of a Childhood" is important because it offers a unique perspective on the Iranian Revolution and its impact on individuals, particularly women. The memoir addresses themes of identity, resistance, and cultural conflict, making it a rich source for academic analysis. Exploring Persepolis essay topics allows studenst to engage with historical and contemporary issues through a personal and relatable narrative.

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The Ultimate Guide to Analysing ‘Persepolis’ for English: Summary, Context, Themes & Characters

Looking for an analysis and summary of the graphic novel ‘Persepolis’ by Marjane Satrapi? We’ve got you covered.

Here’s a summary of Persepolis, its key ideas, context and the themes. We’ll also walk you through how to create your own analysis of Persepolis with a sample TEE Table and paragraph!

It’s time for you to ace your Persepolis analysis — let’s get started! 

Full Summary of Persepolis Analysis of Key Characters in Persepolis Historical Context for Persepolis Analysis Themes and Symbols in Persepolis Writing a Persepolis Analysis in 3 Steps

Full Book Summary of Persepolis

Persepolis is a graphic novel memoir by Marjane ‘Marji’ Satrapi that takes us through her childhood in Iran during and after the Islamic Revolution.

The story begins in 1980, one year after the Islamic Revolution in Iran. 10-year-old Marji narrates the influences of religious extremism within society, particularly in her liberal French co-ed school where classes now separate girls and boys and wearing the veil is compulsory for girls.

Jumping back to the year of the revolution, Marji discusses how her family’s avant-garde, secular ideas and upper-middle-class background exposed her to different political thoughts, ideologies and philosophies.

The ideas she learns at home often clash with what is being taught at school, which confuses Marji and leaves her wondering about where she stands.

Protests in Iran

Noticing her confusion, Marji’s father, Ebi, discusses Iran’s history and their family’s political background and she’s excited to hear that she comes from a long line of rebels. 

One day, Marji’s father shares an incident from a protest he attended, which her mother and grandmother find funny.

When Marji doesn’t quite understand what they’re discussing, she becomes determined to read as much as she can and learn about the reasons for the Revolution.

This causes her to reflect on her class privilege and she thinks about her household’s young maid, Mehri.

Upset that her parent’s upper-middle-class lifestyle isn’t consistent with their political views, she attends a protest with Mehri on the one day she shouldn’t have — ‘Black Friday’, which earned its name because it was one of the most violent protests with many deaths.

After many violent massacres and protests, the Shah’s regime eventually comes to an end  and Marji 

Marji’s Uncle, Anoosh

Marji sees those who were political prisoners under the Shah’s regime as heroes and is disappointed that her father isn’t a hero.

She’s thrilled to hear about her uncle Anoosh, who fled to the USSR to prevent getting arrested but was imprisoned for 9 years when he came back to Iran.

Once he is released, Anoosh visits Marji’s family and she gets to spend some time with him. Marji idolises her uncle and is excited to hear stories about his life.

Unfortunately, as the new Islamic regime grows, many communists, including Anoosh, are targeted again. Marji is allowed to visit him once before he is executed.

Crushed by the death of her hero, Marji rejects her faith in God and begins to experience firsthand the devastating consequences of the regime. 

The Iran-Iraq War

When the Iran-Iraq war breaks out, Marji experiences a surge of nationalism and is eager to contribute to the war effort.

But she soon learns about the consequences of war when she hears about the many casualties and deaths, including the death of her friend Pardisse’s father, who was a fighter pilot.

She’s also upset when she sees many young boys, especially those from poorer backgrounds, enlisted in the war as the regime glorifies the idea of martyrdom. 

Access the Persepolis Downloadable Sample Paragraph and Examples of Analysis

Marji’s Rebellion

As Marji grows older, she rebels against the regime alongside her parents and family friends with small acts of defiance including cutting class, applying nail polish and attending parties.

One day, an Iraqi missile destroys the home of Marji’s Jewish neighbours. While initially relieved that it wasn’t her house, Marji is distraught when she sees her friend Neda’s arm buried under the rubble. 

Traumatised by the experience, she becomes bolder in her rebellion and even slaps her principal, which results in her being expelled from school. 

Realising that the environment in Iran isn’t safe for Marji, her parents make the difficult decision of sending her to Vienna to complete her schooling, where she will be safer and have more freedom . Marji spends her last night with her grandmother, who gives her a sense of comfort and shares some advice.

Before leaving, Marji turns to say one last goodbye and sees that her mother has fainted because of the heartbreak of having to say goodbye to Marji. 

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Analysis of Key Characters in Persepolis

Marjane ‘Marji’ Satrapi Marjane is the young, independent, intelligent and rebellious protagonist of the book, Persepolis. Even as a child, she’s eager to learn as much as she can about the political situation in Iran, both during and after the Revolution. While she reads a lot and tries her hardest to make sense of the world she lives in, the conflicting views and ideologies in post-Revolution Iran often leave her confused. However, she isn’t afraid to ask questions and express her own opinions. While this questioning of the Islamic regime often lands her in trouble at school, her parents always encourage her to keep asking questions and speak out when something isn’t right. Influenced by her reading, her parents’ values and her family’s history, Marji’s very passionate about social activism and when exposed to unjust or tragic moments such as the death of a loved one or class inequalities within society, she responds with emotive reactions such as anger, stubbornness and defiance. 

Marji’s Mother (Taji Satrapi) and Father (Ebi Satrapi) Marji’s parents are some of the biggest constants in Marji’s life and often influence her perspective, values and behaviour. Their education, upper-middle-class social status and modernist views mean they’re willing to take risks and rebel (even if it’s only small, subtle acts) against the regime. During the Revolution, they’re involved in protests and demonstrations against the Shah but when the new regime comes into power, they’re against its oppressive and repressive laws. While Marji’s parents initially demonstrate against the new regime too, they soon start to worry about the dangers of openly protesting . Instead, they continue to live life on their own terms and keep their rebellion private. Throughout Persepolis, Marji’s parents always support her desire to learn more about the political situation in Iran and value her education. As the war against Iraq worsens and the regime becomes stricter, they prioritise her safety and education and send her to Vienna to complete her studies . Having to say bye to their only daughter leaves them heartbroken but they decide it’s for the best.

Uncle Anoosh Uncle Anoosh is only in Marji’s life for a short period of time but he’s an important character who contributes to her growth and development. He fled to the USSR years ago but upon returning to Iran, he’s arrested for nine years. Once he’s released, he visits Marji and quickly becomes her hero and one of her favourite relatives. Anoosh’s stories inspire her to value and never forget her family’s history of rebellion and activism. Unfortunately, he is later arrested again and executed. The death of her idol is a significant moment in Marji’s life and influences her decision to reject her faith in God and her views about the Islamic Republic. 

Grandmother Marji’s grandmother is another important person in her life. She was married to a former prince but when a new Shah took over Iran, her husband lost everything and was imprisoned for being a communist . While he was in jail, she remained resilient and raised their children, Marji’s mother and uncles, despite living in poverty. Marji finds her grandmother’s presence comforting and she’s often one of the few people Marji confides in. Before leaving for Vienna, Marji spends her last night with her grandmother, who gives her valuable advice about staying true to herself and keeping her dignity, even in a world where people are often cruel, bitter and vengeful. 

Historical Context for Persepolis Analysis

Persepolis is set in Iran and follows a period of social and political tensions starting with the 1979 Iranian Revolution, to life under the new Islamic Republic, to the Iran-Iraq War.

The 1979 Revolution aimed to overthrow the Shah, who aligned with America and attempted to modernise the country.

Discontent with the Shah and his use of violence to achieve his aims, protests and demonstrations intensified into a revolution.

Marji grew up witnessing many of these violent acts. The Revolution was eventually successful and the Shah fled Iran. 

Protests against the Shah on ‘Black Friday’

However, the departure of the Shah in early 1979 created a power vacuum in Iran with different factions trying to gain control of the government. This allowed religious fundamentalists, led by religious leader Khomeini, to consolidate power.

Even though some people such as the Satrapi family opposed Khomeini and his strict religious ideals, Iran became an Islamic republic in April 1979.

As the regime’s power and influence grew over the years, they enforced stricter and more repressive laws. 

The Iran-Iraq war also started in September 1980. Since Iran was already undergoing major political and social changes within the country, the war took a heavy toll on its population .

We often see this through Marji’s anger, fear and trauma during this period. But for the new government, the war was an opportunity to strengthen their authority, impose repressive laws and fuel nationalism across the population .

The war eventually ended in 1988 but Persepolis, the book, ended around 1983 when Marji was 14 and the war was still at its peak. 

Themes and Symbols in Persepolis

Here are some themes and key ideas from Persepolis that can help you develop your analysis:

• Gender roles
• Cultural identity and belonging
• Coming of age 
• Family and social dynamics
• Social injustice
• Rebellion, independence and freedom
• War, heroism and nationalism

Okay, but what’s the main message of Persepolis?

The book’s main message revolves around resilience, identity, and the human spirit’s capacity to endure in the face of adversity. Satrapi’s narrative reflects the universal struggle for individuality and freedom amidst the backdrop of a repressive regime, offering a compelling portrayal of the complexities of life, revolution, and the pursuit of self-expression in a changing world.

Looking for more insight? Check out Emma Watson’s Interview with Marjane Satrapi about the intentions behind her graphic novel!

What is the symbolism in Persepolis?

Some of the symbols explored by Marjane Satrapi in our Persepolis analysis include:

The Veil: Veils represent the imposition of societal expectations on women, signifying both oppression and defiance as Marji and other women navigate their significance upon their lives. Cigarettes: Smoking becomes a symbol of rebellion and a form of coping mechanism for Marji. It represents defiance against society. The Eye: A recurring image of an eye represents surveillance the constant scrutiny imposed by the regime on its citizens. Book Title: The ancient city of Persepolis serves as a symbol of Iran’s rich cultural heritage, juxtaposing the modern narrative against the backdrop of Iran’s historical past. The Key: The key symbolises freedom and Marji’s longing for freedom and her quest for personal autonomy.

How to Create a Persepolis Analysis in 3 Steps

While having a strong thesis and selecting good examples and themes is important, you can’t access those top marks without good analysis , so w e’re going to walk you through how to write textual analysis for Persepolis in just a few easy steps! 

Our English tutors in the Hills District and all across Sydney can help you craft a Band 6 Essay for Persepolis! They know the syllabus and text inside and out, and can provide you with expert tips that go beyond what you learn at school!

Step 1: Choose your example(s)

Finding a good example is a super important step when analysing a text. Your example is the evidence to support your argument! 

For this analysis, we’ve chosen to look at how Persepolis comments on the challenges of growing up as a young girl during a period of social and political turmoil. 

We’re using the following quote as an example: 

“I really didn’t know what to think about the veil. Deep down I was very religious but as a family we were very modern and avant-garde.”

When analysing Persepolis, remember to keep in mind that it’s a graphic novel! This means you should try to find both quotes and visual techniques as examples. 

Here are some visual techniques you should look out for: 

You can find more visual techniques in our cheat sheet !

Step 2: Identify your technique(s) 

Now that we’ve chosen an example, the next step is to find a technique within the example . Techniques are the key to uncovering deeper meaning within examples and they make your argument a lot more convincing!

Try to find more than one technique within your example so that you can go super in-depth and develop a sophisticated analysis! 

In this example, the techniques we’re focussing on are symbolism and juxtaposition. 

Struggling to find techniques? Check out our literary techniques cheat sheet !

Step 3: Carry out your Persepolis analysis 

Once you have your techniques and examples sorted out, it’s time to jump into analysis and figure out how to write a Band 6 essay for Persepolis!

It’s important to keep in mind that the focus of your analysis should be on supporting a main argument. As you talk about techniques and examples, make sure to expand on  how they prove a specific point.

Rather than simply stating something like this: 

Satrapi’s use of juxtaposition and symbolism as she narrates, “I really didn’t know what to think about the veil. Deep down I was very religious but as a family we were very modern and avant-garde”, convey the challenges of growing up during and after the Iranian Revolution, particularly as a woman. 

Our analysis should expand on how those techniques inform our argument. Like this:

Satrapi narrates, “I really didn’t know what to think about the veil. Deep down I was very religious but as a family we were very modern and avant-garde”, which creates a juxtaposition between modernism and the religious fundamentalism of the Islamic Republic. Satrapi’s commentary reveals how Marji’s identity and sense of self are conflicted, which highlights the challenges of growing up in a tumultuous social and political context. Similarly, Satrapi uses the veil as a symbol of the repressive Islamic Republic since women and girls lack the agency to choose whether or not they wish to wear it. The veil hence appears as a motif throughout ‘Persepolis’ to emphasise the struggles of growing up as a young girl in repressive post-Revolution Iran. 

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Maitreyi Kulkarni is a Content Writer at Art of Smart Education and is currently studying a Bachelor of Media and Communications (Public Relations and Social Media) at Macquarie University. She loves writing just about anything from articles to poetry, and has also had one of her articles published with the ABC. When she’s not writing up a storm, she can be found reading, bingeing sitcoms, or playing the guitar.

• Topics: ✏️ English , ✍️ Learn

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Marjane Satrapi

Welcome to the LitCharts study guide on Marjane Satrapi's Persepolis . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Persepolis: Introduction

Persepolis: plot summary, persepolis: detailed summary & analysis, persepolis: themes, persepolis: quotes, persepolis: characters, persepolis: symbols, persepolis: theme wheel, brief biography of marjane satrapi.

Historical Context of Persepolis

Other books related to persepolis.

• Full Title: Persepolis: The Story of a Childhood
• When Written: 1999
• Where Written: France
• When Published: 2003 (in English)
• Genre: Graphic Novel; Memoir
• Setting: Mostly Tehran
• Climax: The bombing of the Baba-Levy home
• Antagonist: The regime of the Islamic Republic of Iran
• Point of View: First person (Marjane)

Extra Credit for Persepolis

Polyglot. Marjane speaks six languages: Farsi, French, German, English, Swedish, and Italian

The Big Screen. Persepolis was turned into an animated film and released in 2007. It won the Jury Prize at the Cannes Film Festival.

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Essay Samples on Persepolis

Persepolis, written and illustrated by Marjane Satrapi, offers a captivating and intimate glimpse into her experiences growing up in Iran during a tumultuous period of history. Through the lens of her own life, Satrapi masterfully weaves a narrative that combines personal anecdotes with a larger socio-political backdrop, providing readers with a nuanced understanding of the Iranian Revolution and its aftermath.

How to Write a Persepolis Essay

In crafting a Persepolis essay, exploring the theme of identity is paramount. Analyze how the protagonist’s sense of self evolves throughout the book, and research relevant Persepolis essay topics that delve into this theme. Unearth the effects of political turmoil on individual lives and society as a whole, examining the impact on identity and personal growth. Or delve into the role of visual storytelling in Persepolis, discussing how Satrapi’s illustrations enhance the narrative and evoke emotions.

When writing your Persepolis theme essay, structure your thoughts coherently to engage your readers. Begin with a strong introduction that introduces the key themes and provides background on the author and historical context of the Iranian Revolution. In the body paragraphs, develop your arguments using evidence from the text, citing specific scenes and examples to support your analysis of Persepolis essay topics. Ensure that your essay flows smoothly and logically, each paragraph building upon the previous one to create a cohesive argument.

Finally, conclude your essay by summarizing your key points and emphasizing the significance of Persepolis as a work of literature and historical documentation. Reflect on the broader implications of the book’s themes, highlighting their relevance in today’s world. Encourage readers to ponder the lessons and insights gained from Persepolis essays and how they can be applied to contemporary contexts.

Persepolis as a Novel Written by Marjane Satrapi

Persepolis is a memoir written by Marjane Satrapi and is told through the perspective of Marji, the persona of Satrapi as a young girl. With increasing age, comes more with an increased amount of understanding of the actions of others. Marji was taught aspects of...

• Literature Review
• Persepolis: The Story of a Childhood

The Protagonist in Persepolis by Author Marjane Satrapi

 Let’s start with the fact that the religious wars that have been going on in the Middle East have brought problems. There has been ongoing controversy regarding how the many Middle Eastern countries are governed and how government corruption has caused rebellions to show up....

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The Famous Book “Persepolis” by Marjane Satrapi

Novelist, Tom Robbins is known for saying, ̈Our similarities bring us to common ground. Our differences allow us to be fascinated by each other.¨ Similarities and differences are something common in human society. The book “Persepolis” is about the coming of age of a young...

Problem Of Mistreatment In Persepolis

The reading of the graphic novel was not easy at all for me for I have never read this book yet I tried to read but never passed more than ten pages for I thought I may not be having the interest to read. As...

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Theme Of Westernisation In Persepolis

Westernization is an intrinsic theme in Persepolis. Some see it as a place of opportunity, wealth, prosperity, and freedom. For a country like Iran, the West causes nothing but disorder and misery for the country. To describe these problems toward the West, Marjane Satrapi illustrates...

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Persepolis: A Girl’s Maturity Intertwined with Revolution and War

The journey from childhood into adulthood is experienced by every human being. It revolves around a change, whether it’s a physical, mental, or environmental one. A coming of age proves to be something that comes to define a person and their life. People, places, and...

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The Islamic Revolution In 'Persepolis'

A war can set back many things in life and can come out of nowhere and destroy everything you loved. In 1979 a revolution had happened called “the Islamic Revolution”. Changing many lives and setting back everyone from the life they once had. Marjane Satrapi...

The Theme of Oppression in the Novel "Persepolis'"

Oppression expresses an authority over another group, disengaging that specific group from the rest of society. This concept is particularly apparent in Marjane Satrapi’s childhood graphic memoir “Persepolis,” a story set in Iran during the 1980s recounting the strong political turmoil caused by the Iranian...

Character Of Marji In 'Persepolis'

Persepolis is a graphic and autobiographic novel written by Marjane Satrapi with the purpose of criticizing the Iranian regime and teaching her audience about the social and cultural issues of Iran. Marji’s life story is told through visual language. Satrapi chose to write a graphic...

Marjane Satrapi From 'Persepolis'

Marjane Satrapi is a strong, brave character in Persepolis, a graphic novel written by Marjane herself. As the story of the childhood of Marjane plays out, there is a great impact on her as she begins to experience things that she probably never realized she...

Best topics on Persepolis

1. Persepolis as a Novel Written by Marjane Satrapi

2. The Protagonist in Persepolis by Author Marjane Satrapi

3. The Famous Book “Persepolis” by Marjane Satrapi

4. Problem Of Mistreatment In Persepolis

5. Theme Of Westernisation In Persepolis

6. Persepolis: A Girl’s Maturity Intertwined with Revolution and War

7. The Islamic Revolution In ‘Persepolis’

8. The Theme of Oppression in the Novel “Persepolis'”

9. Character Of Marji In ‘Persepolis’

10. Marjane Satrapi From ‘Persepolis’

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