ncte rationale persepolis

7/28/2019 NCTE Rationale Persepolis

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Persepolis By Marjane Satrapi

Rationale authored by Alicia Webb

Introduction

Persepolis by Marjane Satrapi (2003) is the first novel she wrote and illustrated, which is

the coming-of-age story of a young girl growing up in Iran during major political movements

and war. She wrote the novel as an effort to portray Iranians differently than the stereotypicalextremists and terrorists. In 2001, the novel was first published in French, which was followed

by three sequels to the first. WhenPersepolis was translated into English,Persepolis II:The

Story of a Return (2004)followed shortly after. Satrapi has written several other novels inFrench, but those published in English includeEmbroideries (2005), Chicken with Plums (2006),

andMonsters are Afraid of the Moon(2006). Satrapis novels all deal with her life in Iran, her

family, and her adolescence. In 2007,Persepolis IandPersepolis IIwere made into a film,which was nominated for an Oscar, in addition to twenty-five total nominations and fifteen total

wins.

Persepolis is a graphic novel set in Iran. The start of the novel is during the Iranian

revolution, just before the defeat of the Shah. It concludes with the Iraq-Iran war, and Marjiescaping the country to Austria. The story is told from the perspective of a nine year old girl

(until she is fourteen), who struggles to comprehend the horrors of war and oppression of the

government. The novel is intriguingly both foreign and familiar for young readers. The reader is

able to connect with Marji and her typical struggles of adolescence, while getting a personalperspective on the experiences of a country that most people are unfamiliar with. Her struggles

include rebellion, independence, and social acceptance while trying to survive in a country at war

and oppressed by the government. In the same chapter, she skips school to hang out with boysand then worries about being hit by a bomb. As the novel progresses and Marji grows older, she

and the reader learn more about herself and her country.

It would be impossible to claim thatPersepolis is anything other than a success. The

novel is widely read, enjoyed, and recommended. In addition to winning the Alex Awards (2004)andBookLists Top Ten Graphic Novels (2004), it was included on the Best Books list of

numerous associations, libraries, and journals: The American Library Associations Amelia

Bloomer Project (2004), American Library Associations Best Books for Young Adults

(2004), The Capitol Choices Committees Capitol Choice (2004), Cooperative ChildrensBook Centers Choices (2004),Booklists Editors Choice: Adult Books for Young Adults

(2003),Public Library Catalog(2005), School Library Journals Adult Books for High SchoolStudents (2003), School Library Journals Best Books (2003), Senior High Core Collection

(2007), and the Senior High School Catalog(2003).

Much of the popularity withPersepolis has to do with the portrayal of Marji and her

family as an Iranian family who do not share the qualities of the stereotypical Iranian. Theassumption is that Iranians and Muslims are extreme religious fanatics, and therefore a terrorist.


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2 National Council of Teachers of English

Iran has become a country by which Americans feel threatened; causing a misguided idea of the

lives Iranians live, letting a few in their country represent the whole. The stereotype and

prejudice does not remain overseas. According to the U.S. Census Bureau (2008) 414,000 people

are of Iranian ancestry in 2006 (p. 51). In addition to that, .6% of the population identifiedMuslim as their religion in 2007 (p. 74). The prejudice not only persists against those in other

countries, but affects citizens of America as well.

Lisowski (2004, September), reviewer forKLIATT, confirms thatPersepolisgives thepeople of Iran a face and a voiceand the humanization of a people who often appear far away

and different is a benefit not to be ignored (p. 42). Heer (2003, November), author of Where

Graphic Novels are Coming From, states that if we just went by media accounts, we wouldntguess that Islamic revolutionary Iran was and is filled with people who bristle against everyday

indignations of the regime (p. 16). Heer continues that our sense of diversity of Islamic culture

is immensely aided by attending to books likePersepolis (p. 16). Guntzel (2005, February 11),author forNational Catholic Reporter, discusses the negative connotations that have been

created against Iran since his childhood and commends Satrapis efforts to [justify] why it isnt

negative to be Iranian (p. 12a). Eberstadt (2003, May 11), writer forThe New York Times, states

that the book couldnt have come at a better moment to show Americans that Iran is not onlya country of fanatics and terrorists (p. 8).

Kimberly Paone (2003, December), reviewer forVoice of Youth Advocates, highly

recommendsPersepolis for the young adults and adults, starting at ages twelve and higher,

stating that this exceptional work should find its place in both school and public libraries (p.430). In addition, there are twenty-nine more reviews praising and recommendingPersepolis as

a notable book for young adults and adults to read. Several reviewers complement the graphic

novel style, stating that it conveys an important message in an accessible way. All reviews agreethat this is a book that is beneficial for all who read it, that provides insight to an unfamiliar

culture and breaks stereotypes.Persepolis is a book that has a place in every classroom and

library.

Plot Summary

War, bombing, death, torture, fear, and disguiseall a day in the life of Marji, a nine-

year old girl.Persepolis by Marjane Satrapi is an autobiographical graphic novel that describesthe experiences of Marji from ages nine to fourteen. Marji and her family live in Tehran, the

capital of Iran. The novel begins in 1979, during the Iranian Revolution and ends with the attackof Iraq, starting a war between the two countries. Within the pages of this novel, we experience

a brief history of Persia, the exile of the Shah, The Revolution, a cultural revolution, and a war

all through the eyes of a child. Marji tells the story of her experiences as they happen and seem

to her as a child, as her naivety and innocence are slowly stripped from her. Although hercountry is in constant turmoil, Marji is still an adolescent struggling to discover her own identity

and become an adult with all the added difficulties that come with being an adolescent

(especially friends, boys, and independence).

Marji is an independent, rebellious, and intelligent young girl, the daughter of two

Marxist intellectual parents who are raising her according to their political beliefs, and to supportthose beliefs while trying to stay safe. As a child she struggles with the conflict of her parents

beliefs and what she is told in schools, but she does not fully comprehend either. Born intoreligion and believing that she is the last prophet, god visits her room at night to talk with her.

Marji struggles with understanding the severity of situations, and often makes fun out of it or

fails to recognize the danger. She plays torture games with her friends and has a concept of

invincibility. She slowly learns with the help of tragic and near-tragic events.


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Marjis parents, Ebi and Taji, are the descendants of the last Iranian emperor who was

overthrown. This caused Taji to grow up in poverty with her father in prison and tortured

constantly. They resist the super religious laws and protest by going to demonstrations. As

parents, they attempted to shield Marji from as much as possible when she was younger, but asMarji grew older she was included and given more freedom than a usual girl her age. Marji

inherited her rebellious personality from them. While parties and alcohol were banned, they still

persist to have a good time in the privacy of their own homes, but not without putting up curtainsto keep from being seen. Throughout the novel, there is constant struggle between keeping their

daughter safe, defending themselves, and teaching Marji independence.

Two other important people in Marjis life are Grandma and Uncle Anoosh. Bothmembers of her family serve as a comfort to her, just in very separate ways. Grandma was the

one who she could confide in and who loved her unconditionally. When Marji wanted to be the

last prophet, Grandma was the only person who didnt laugh or tell her she cant, which gainedMarjis trust. On Marjis last night in Tehran, it is her grandma she slept with. Grandma was a

woman who had endured a lot in her life. Uncle Anoosh gave Marji the bragging rights that

calmed her jealousy. After the Shah was overthrown, many refugees were released from prison.

Marji, not fully understanding the horrors of war, was jealous that her parents were not warheroes when her friends parents were. Uncle Anoosh soon came to visit, giving Marji the ability

to say that her family had been in prison longer than any of the fathers she knew. Uncle Anoosh

and Marji grew very close, only for Uncle Anoosh to be arrested by Fundamentalists. Uncle

Anoosh was placed in prison, and killed shortly after. This was the first person Marji was closeto who had died, and it was a step closer to growing up for her.

The war with Iraq brought danger and strict religious laws. The horror of war became real

for Marji. Everyone lived in anxiety and fear of being bombed, or knowing someone who hadbeen bombed. Time was spent in the basement, or behind curtains in fear. Food and fuel were

scarce and people fought for what was available. In school, religion was used to prepare children

for war. Girls were forced to celebrate the war, mourn lives of soldiers, and knit winter hoods.

Boys were taught to be soldiers and promised a beautiful afterlife with lots of girls. One day amajor event took placethe house next to hers was bombed with the family inside. She saw the

hand of a girl who was her friend amidst the rubble that used to be a house. This event greatly

impacted her life and attitude. Ironically, she was no longer afraid.

Marji was expelled from school for wearing a bracelet and hitting the principal. Herparents were finally able to find another school that would take her. One day she decided to

speak her opinion in class, which caused trouble again. Due to her rebellious nature and bluntpersonality, her parents decided it was safer for her to leave the country. Despite the attempt to

convince her otherwise, Marji realizes that her parents will not be coming with her. At the

airport, she painfully tells her parents good-bye, not knowing if she will see them again and

knowing that she will be alone. With one last look, she sees her father carrying her mother whohas fainted.

Review Summaries

Bridle (2003, September 19), with CM Magazine, describes the novel as a movingaccount of a girls coming of age story and her survival of in Iran (p. ONL). She addresses the

violence of torture and expletive language of the novel, but argues that they describe situationsthat are not out of the realm of possibility for many of the worlds young people (p. ONL). She

complements the illustrations and text for making Irans history understandable and easy to

access.

A Cooperative Childrens Book Center(2004) reviewer describesPersepolis as a uniquemedium thats images and text combine to describe a childhood that is truly divided and


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threatened by the repression of the government. The author continues to declare that in the turn

of a single page, Satrapi can conjure up fear and anger in one moment, and joy and laughter in

another.Persepolis was included in their list of choices for its unique content and format.

Criticas(2004, November), refers to the novel as an extraordinary coming-of-ageautobiography (p. 16). Satrapi describes her internal and external conflicts of growing up in a

country torn from war.Persepolis was listed as one ofCriticas The Best Books of 2004 under

the young adult fiction category.DiNovella (2003, December), writer forProgressive, recommendsPersepolis as a

favorite book in 2003. Though the comic format is unconventional, she asserts that the

surrealism of the graphic novel mirrors the surrealism of growing up in the midst of revolutionand contradiction and that the artwork allows the story to unfold in surprising ways (p. 38).

DiNovella complements Satrapis use of a simple genre to address complicated ideas, such as

class consciousness, the loss of faith, the lies of the government during war, the hypocriticalrighteousness of newly converted, and everyday contradictions and confusions of growing up

secular under a fundamentalist regime (p. 39).

Douglas (2005, March), reviewer from off our backs, tells of her apprehension to reading

graphic novels. She describes her lack of interest in reading the graphic novel genre, but thenexplains that after readingPersepolis she had changed her mind. She felt that the novel gave a lot

of information in an accessible way and that without the comic strip format most people would

not care to read about fundamentalism in Iran (p. 63). Despite the difficult topics, the novel is

enjoyable. Douglas ends by asserting Do read these books. Youll be glad you did (p. 64).Eberstadt (2003, May 11), writer forThe New York Times, complements the use of comic

book as an autobiography, and discusses the increase and interest in this genre. He specifically

complements Satrapis drawing style. Her thick black and white style is bold and vivid. Eberstadtalso suggests that given the context and countrys opinion of Iran, Satrapis attempt to dismantle

the stereotypes of terrorists and extremists with this novel came at a perfect time.

The Economist(2003, December 6) includedPersepolis in the list of reviews deemed the

best books of 2003. The authors comparePersepolis to the infamous graphic novel,Maus,calling it a cartoon memoir (p.76). This recommendation for readers as home entertainment is

followed by a complement to the novel as an illuminating record (p. 76).

Emerson (2003, June 16), writer forThe Nation, also admits an apprehension towards

graphic novels when first readingPersepolis, since she is not a fan of comic books. Due toSatrapis talent as an artist and her captivating drawings, Emerson felt that it was not doing

Satrapi justice to callPersepolisa comic book. Rather, it earns the title graphic memoir (p.12). Emerson states that the drawings brilliantly show the unspeakable anxiety that afflicts

Iranians and that Satrapis hopes to defend her country will be accomplished for most readers

(p. 12).

Flagg (2008, March 15), a writer forBookList, once again recommendsPersepolis afterbeing made into an award-winning film. He states the novel is exceptional for its utterly

believable re-creation of an intelligent childs perspective and understanding (p. 42).

Freund (2003, October), writer forReason, discusses Satrapis use of the novel to speak

out against her ill-treatment in Iran. He discusses the restrictions she overcame with this novel,

and her desire to truly write about the lives of the people in her country. In reference to the novelitself, her use of an intentionally nave visual style to tell a story often filled with fear and death

only intensifies the power of her tale (p. 64).Gropman and Woodcock (2003, December), writers forSchool Library Journal, also

recommendedPersepolis in their list of the best books of 2003. They discuss that the novels

chosen for this list were widely read and passionately discussed by the committee to find books

that give diverse reading and enrich lives of young adults (p. 50). They state thatPersepolis


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vividly conveys the initial hope, subsequent distress and filial fear of Marjane and her family

(p. 51).

Guntzel (2005, February 11),National Catholic Reporterreviewer, discusses the novels

effort to dismantle the negative connotations with Iran. He addresses the Iran=Terror equationthat has persisted since his childhood (p. 12a). He encourages Satrapis efforts to dismantle the

stereotypes and justify Iran, and says that the novel is layered with tragedy, complexity, and

comedy (p. 12a).Heer (2003, November), reviewer forBooks in Canada, discusses the sudden increase in

graphic novels in the past few years. He creditsPersepolis as one the reasons and influence of

this popularity, as the most talked about graphic novel of the year (p. 17). He continues on tostate that the book is fresh and unforgettable, due to Satrapis use of a child narrator. Heeralso

discusses the importance of the novel in shaping our perspective of the Islamic culture, giving

the reader a sense if diversity within the culture and also humanizing history and expandingour horizon (p. 17).

Isaacs (2005, March), reviewer forSchool Library Journal, recommendsPersepolis for

students in eighth grade and beyond. She complements the black and white drawings as well

done, and that the political situation is clearly described through the eyes of a child, thusmaking it accessible for students (p. 70).

Library Journal(2004, January 15), also includedPersepolis on their list of the best

books in 2003. Authors refer to the novel as enchanting, and complements her for cleverly

recounting the experiences of a child who witnessed injustice, and she does this through simplelanguage and unadorned drawings (p. 50). TheLibrary Journalauthors conclude with, from

the comical beginning to the heart-wrenching end, this tale charms and educates equally (p. 50).

Lisowski (2004, September), reviewer forKLIATT Review, complementsPersepolis bydescribing the novel as an absolutely breathtaking memoir and that the perceptions and

memories are eloquently conveyed (p. 42). She also states that though this novel, we learn that

extremists do not reflect the entire nation. Lisowski encourages that although the format is non-

traditional, the curricular advantages should not be overlooked: that it gives the people of Iran aface and a voice through their spokeswoman, and the humanization of a people who often appear

far away and different is a benefit not to be ignored (p. 43).

The New York Times (2003, May 25) editors listedPersepolis as one of their choices for

books of interest. The New York Times writer, Scott Veale (2004, June 6), also listed the novel onhis list of New & Noteworthy. The book is described as dramatic, witty, insouciant

autobiography in bold, densely rendered comic-book form (p. 80).Ohlsen (2003, May), reviewer for BookPage, discusses the previous negative notions

towards comic books and graphic novels. As graphic novels become more popular, there is a

growing respect and understanding for artists who use graphic novels to tell stories as powerful

as any literary fiction (p. 15). Ohlsen recommendsPersepolisas a novel even those who dontlike comic books can appreciate. The novel is labeled as a future classic and deemed vital, when

considering the current situation with the Middle East.

Olsen (2003, May 1), writer forBooklist, also agrees that the novel is an extraordinary

autobiography in comic format. Olsen compares Satrapis drawing style to that of great

childrens author-artist Wanda Gags (p. 1564). The novel is recommended as an excellentsupplementary reading for studies of the modern Middle East for young adult and children.

Paone (2003, December), reviewer forVoice of Youth Advocates, recommendsPersepolisas an exceptional work for both school and public libraries. Paone claims that the novel

transports readers to [Satrapis] childhood (p. 430). She discusses that although the story is

told through a childs eyes, it is not sugar coated, and that all the struggle, secrets, suffering, and

survival are all documented with a matter-of-fact air that contributes to American readersunderstanding of Iran at that time (p. 430).


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Pearl (2006, April 1), reviewer forLibrary Journal, recommendsPersepolis for book

club groups, who are interested in books set in the Middle East region. Pearl calls the book

occasionally humorous, but mostly an irredeemably tragic tale of her childhood in Iran (p.

134). She recommends the book club groups consider how the drawings and text interact anddebate if the story would have been effective without the art.

APublishers Weekly (2003, November 17) reviewer discusses that within the year

comics and graphic novels had shown an increase in popularity. Authors mention the strikinggrowth in the interest of readers and the media.Persepolis is listed as one of the recommended

graphic novels to read. The novel is a powerfully understated and timeless autobiographical

story and is a poignant recollection of her familys life in Tehran under religioustotalitarianism (p. 27).

Raiteri (2003, May 1), reviewer forLibrary Journal, highly recommendsPersepolis for

teens and adults. He describes her art as simple, cartoony, and cute, but argues that this allowsfor easy identification with the characters and expertly reflects their varying emotions (p. 99).

Raiteri confidently asserts that the remarkable and revealingPersepolis would be one of the most

important graphic novels of the year.

School Library Journal(2003, August) recommendsPersepolis to teen readers, but alsoclaims it is a graphic novel of immense power and importance for Westerners of all ages (p.

190). The authors state that teens will learn about the history of this important area, but also will

identify with the characters in the novel. The novel consists of a combination of normal teenage

rebelliousness with the horrors of war.Storace (2005, April 7), reviewer forThe New York Review of Books, describes the

combination of images and narrative as inseparable. She claims that while individual text and

images cannot be distinguished as independent pieces of art, together emerges as a work sofresh, absorbing, and memorable in an extraordinary achievement (pp. 40-43).

Tarlo (2007, June) , writer forFashion Theory, complements Satrapi for her use of dress

in her black and white simple images. Tarlo analyzes the images and use of dress in the novel,

such as the veil, beards, and Western clothing. She asserts that [Satrapi] documents the complexinterweaving of the personal and the political, the individual and the social, demonstrating how

dress stands on the border of these domains (pp. 347-348).

Time Magazines reviewer Poniewozik (2003, August 25) describes Marjane as a typical,

headstrong adolescent who questions her society, which is a misogynistic theocracy (p .57). Hecomplements Marjane with inquisitive eyes and sees her as precocious and passionate, along

with rebellious. Poniewozik also draws a comparison between her adolescent rebellion and herparents rebellion against the government.

The Utne Reader(2003, May) listsPersepolisin the Utne Weeder as one of their

favorite books. They claim that this novel will bring tears and laughter, and put a face on such

concepts as repression, nationalism, and choice (p.36). The novel is described as a powerfulvisual account (p. 36).

Zaleski (2003, July 14), writer forPublishers Weekly, definesPersepolisas a timely and

timeless story of a young girls life under the Islamic Revolution (p. 58). He complements her

art as minimal and bare, but charming and humorous as it conveys the horror of war; she

skillfully presents a childs view and her own shifting ideals (p. 58). Zaleski deemsPersepolis inthe same category with other powerful memoirs that use comics to make the unthinkable

familiar, such asMaus and Safe Area Gordze (p. 58).

Literary Criteria

InA Study of the Qualities of Literary Excellence Which Characterize Selected Fiction,Dorothy Petitt (1961) suggested criteria for evaluating literary excellence in literature for


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adolescents. These criteria can be used to judge the elements needed to determine if novels

written for adolescents can qualify as literature. The following sections demonstrate that

Persepolis is an appropriate, quality novel for young adult readers.

I. Definition: Is this a novel? (p.128)

ThoughPersepolis is in graphic format, with one hundred and fifty-three pages, it isconsidered a novel. There are fewer words than a typical novel, but the images convey the same

messages as the words would have. The length of the novel allows change to happen in the main

character Marji, as she grows older and becomes more mature and as Iran changes governments.Though this change happens, the novel still maintains vital qualities that the book possesses. The

novel is about a time in Irans historic past based on the experiences of the author, and as a result

is a very unique. The novel reveals the experiences of a country on a personal and a communitylevel, as the country suffers under oppression and war. It contains values of true freedom,

individuality, right and choice of religious expression, and standing up for beliefs.

II. Unity: Is the novel unified? (p.128)

ThoughPersepolis is a graphic novel, it is not simply a series of pictures. The different

technical aspects at work are the text and the graphics, which fit together perfectly. The text is

used to narrate and the images give the descriptions necessary. The novel is organized like manyother novels are, with chapters conveying events that come together to form the novel as a

whole. The totality of the novel is achieved through the presence of oppositions with the strict

religious government regimes and the more liberal citizens.

III. Theme: Does the theme emerge as the controlling element to which all other aspects can be

seen finally to contribute? (p.129)

The typical theme of literature centers around the individual in society, and Persepolis is

definitely a representation of that. The theme of the novel deals with the major issues of religion,

war, individuality, adolescence, and change. Though these themes are present in other novels,

Persepolis is unique because of the way it combines the issues together. The protagoniststruggles with becoming an adult while trying to survive a war. It creates a unique and

complicated experience not seen in other novels.The theme of the novel is skillfully developed. The protagonist struggles with conflicting

sides of her life, with liberal parents and religious schooling. She herself represents the country

as a whole being pulled by their values as a people and the religious values of the regimes. She

also represents the naivety and helplessness of the citizens of her country. As a child, she doesnot understand the seriousness of situations and lacks the knowledge necessary to take action;

she must comply with her surroundings. As she grows older and more knowledgeable, she is able

to think for herself and take action. The themes of the novel of universalize its particularity

because though there are novels about religion, war, adolescence, and change, few combine all

the aspects and the complicated interworking of them all on an individual, or country.The theme of the novel is developed rhythmically throughout in a logical manner. It is

presented in several forms throughout the novel. Repetition of the novel varies in the way theauthor has chosen to express the meaning. It goes beyond simply a storyline that explains what

happened, but shows the individual conflicts and effects. The graphics of the novel are not

simply pictures, but carefully created images that convey meaning beyond what is explicitly

stated. Especially with the graphics, readers can take away different messages in the novel thatexpand the meaning beyond particular people, events, or objects.


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IV. Plot: Is the plot a purposively directed pattern of events? (p.129)

The plot ofPersepolis follows a simple chronological order. It starts at the beginningwhen the main character is nine years old and ends when she is fourteen years old. The events

are described in the order that they happened, with the exception of a few. This structure is easy

for young readers to follow and understand. In some instances, more explanation is needed tofully comprehend the novel. The novel effectively links the inner and outer experiences by

describing events in the past to describe why things came about. When the main character is still

young, her father gives her (and the reader) a small history lesson on why the country was in thecurrent state it was. There also instances of flashbacks by the main character and others. These

smaller plots give the information necessary to help develop the main plot.

The plot is very unique because it focuses on the perspective of one little girl. Theexperiences and events are universal, but how the main character views and understands them is

unique. The novel gives enough information to the reader to know the universality, but enjoy the

unique perspective of the main character. The plot is shaped by the focus on her development,

introducing others and events as they are appropriate and relevant to her life.The point of view of the novel is clearly defined at all times as that of the protagonist.

The story is told from her perspective, about her life, and how it affected her. It is told from a

childs point of view, and that it how all events are described. Images are even portrayed as a

child would understand them. The simple language and level of understanding is that of achilds, and slowly develops as she gets older. Due to the fact that the novel is based on the

authors life, the point of view is very real and believable.

Though the author has chosen to speak in first person, the single mind telling the story isa believable one. The intimacy of the novel, with thoughts and feelings that a child would

normally keep to herself, makes the novel believable. The main character holds nothing back

from the reader, and admits when she doesnt understand. Often, she repeats what she heard or

saw, leaving the reading to make meaning of it even though she cannot. Typically, a first personnarrative restricts the reader to what is happening in the novel, but this one does not. Information

is biased and misconstrued, but it is presented in a way that clues the reader when it is

happening.

Overall the plot handles scene and summary very well and is developed proportionallyfor the novel. The scene and summary allow the reader to see the individual level as well as the

larger, dealing with the country as a whole. This is a great element because sometimes the matteris treated lightly and with humor and at the same time with seriousness, much like how a child

handles difficult situations. The plot follows a series of events that match with each other making

the novels complex material easy to follow and understand.

V. Characterization: Are the individual characters fully enough developed to become the focus

of the readers interest? (p.132)

The plot and the characterization are mutually interdependent. Without the characters, the

plot would simply be a retelling of Irans history. Without the plot, while fascinating, thecharacters would lack the conflicts that make the novel influential and memorable. The result of

one without the other would not result in anything close to the same novel. The plot and thecharacters work together in this particular novel to make difficult concepts and information more

accessible, personal, and interesting.

The author does not give the reader the impression that that something is being withheld,

or that there is more to know than what is being given. Never once is there a suspicion that thereis more to know or an inner life. The character is not predictable, but rather believably surprising


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and interesting. One can assume what events will happen next, but the reaction of the characters

is always unpredictable. It is evident that the author knows the future and the past. The novel is

written in a reflective tone, where the main character is retelling the past. Unlike many novels in

this format, little is altered to accommodate this style and it is still the voice of a child.Throughout the course of the novel, the character goes through many changes. The

changes that occur are natural changes that happen with age, but there are also changes that

happen as a result of the environment. As the novel progresses, the reader watches the maincharacter develop her own values as an individual as her understanding of situations increases.

She is faced with adult decisions and must learn to behave like an adult. As the novel develops

the main character does also, keeping within the scope of the novel.

VI. Dialogue: Does the dialogue simultaneously further plot and express character? (p.133)

The dialogue of the novel does in fact further the plot and express character. The main

characters dialogue changes significantly throughout the novel as she grows older. Her language

is at first simple and her comments are innocent. As the plot progresses and she grows older, the

dialogue changes and becomes more complex. The dialogue she has with her family changesalso as hers does. Her family originally would speak to her tenderly and carefully to protect her.

As she was exposed to more things, it changed to more severe and revealed more information to

her. The development of relationships is seen, as well as the stress and concern of situations.

With the small amount of dialogue and the accompaniment of images, the dialogue is verycarefully chosen and artistically valid.

Theoretical Support and Redeeming Values

Literature plays an important role in the growth and development of adolescents, and also

in their attitudes and beliefs towards themselves and one another. When they read young adult

literature, they are able to make connections to their lives and broaden their world andaccessibility to things that would otherwise be excluded from their lives. For this reason, it is

important to choose literature in the classroom that will benefit students. In this section, theories

from Erikson (1968), Havighurst (1972), Kohlberg (1981), Rosenblatt (1983), Ross and Olsen

(1993),the State of Ohio Department of Education (1990) will be discussed. In addition to thesewell known theorists, articles from Baghban (2007), Hall (2008), Hunt (2000), Kenan (2005),

and Morgan (2008), all experts in their field, will be discussed. Support and research from thesetheorists and experts will be used to explain whyPersepolis is a novel the adolescents should

read.

Developmental psychologist E.J. Erikson describes inIdentity: Youth and Crisis the

stages in which a person goes through in their psychosocial development. The stage which aperson is at during adolescence addresses identity and role confusion. As adolescence is a vital

time, so is the development of identity. Erikson states that in the social jungle of human

existence there is no feeling of being alive without a sense of identity (p. 130).

In the earliest phase of the identity crisis, the adolescent needs to trust oneself and others.

Erikson explains that the adolescent looks most fervently for men and ideas to havefaith in,which also means men and ideas in whose service it would seem worthwhile to prove oneself

trustworthy (pp. 128-129). InPersepolis, Marji clearly exemplifies this theory. In thebeginning of the novel, her identity suffers from a confusion of her identity. As a result, she puts

her faith in God, and even assigns herself the role of the Last Prophet.

As Marji grew older, she progressed to the next phase of Eriksons theory. During this

time, the adolescent desires to act freely, but is also afraid of being ridiculed or to doubt oneself.Erikson explains that the adolescent would rather act shamelessly in the eyes of elders, out of


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free choice, than to be forced into activities which would be shameful in his own eyes or in those

oh his peers (p. 129). In the novel, Marji begins to establish her own values and those of her

peers and freely resists the regime officials and even her parents a few times. She risks

chastisement by wearing evidence of the Western world, attends protests against her parentsorders, argues with friends about whose relatives is the best war heroes, and even risks her safety

to speak out against the teacher in class.

Persepolis is a novel that youth can easily relate to for this reason. Each one struggleswith finding their own identity, which can often contrast with that of those around them, and

embracing it and the consequences that may follow. It will be helpful for adolescents to read

about similar struggles of other adolescents, like Marji, and learn from her; furthering theirpsychosocial development in successful and healthy adults.

Psychology theorists Lawrence Kohlberg created the stages of moral development. In his

book, The Philosophy of Moral Development: Moral Stages and the Idea of Justice, he states thatmoral reasoning and ethical behavior must development in a sequence of six stages, divided into

three levels. During the second level (conventional), the adolescent is focused on maintaining the

expectations of families, groups, and even the nation. Kohlberg explains that the attitude is not

only one of conformity to personal expectation and social order, but of loyalty to it, of activelymaintain, supporting, and justifying the order and of identifying with the people or group

involved (p. 18). InPersepolis, Marji struggles with acceptance from her liberal parents and the

school that she attended. She attempted to follow the moral values of her family by resisting the

fundamentalist regime, but was confused by the teachings of her school supporting the regime.This is an accurate portrayal of adolescents during moral development. Confusion and

conformity are something adolescents are confronted with, and will easily relate to Marjis

experiences.During the second level (post conventional), Kohlberg explains that there is a clear

effort to define moral values and principles that have validity and application apart from the

authority of the groups or people holding the principles and apart from the individuals own

identification with these groups (p. 18). This is when adolescents learn to define their ownmoral values rather than that of a group. Towards the end ofPersepolis, Marji begins this stage.

She forgets the loyalty to her parents and her country, and after she fully comprehends the

politics and war she is able to begin thinking about her own morals. She has not fully entered the

post conventional stage, but is in the transition. In the sequel,Persepolis II, Satrapi explores thisfurther. Adolescents will be able to see their own struggles in that of Marjis, as she deciphers

her morals from the multiple conflicting viewpoints.A. Ross and K. Olsen describe in their book, The Way We Were-the Way We Can Be: A

Vision for the Middle School, Integrated Thematic Instruction,several life skills that a young

adult will learn and that should be taken into consideration when teaching. These are skills that

adolescents should develop and have in order to become a fully functioning adult. There aremany skills listed, some of which are integrity, initiative, friendship, cooperation, responsibility,

curiosity, and caring (p. 258). It is important that teachers work with students and teach them

these skills, also giving them an opportunity to develop them. One way to do this would be to use

examples of these skills in a book students would be reading.

InPersepolis, there are several examples of these life skills. Marji displays integritythroughout the novel, by acting according to what she believes is right. This also gets her in

trouble, when she fails to cooperate and is subject of cruelty from the regimes guards. This is alesson learned from mistakes made. Marji also takes initiative when speaking out in class against

false teachings, and she has friendships with those around her. As a young child, curiosity is

what drives the story and makes it so enjoyable. She is young and innocent, but strives to know

and understand her surroundings. As she gets older and understands, her curiosity changes totypical adolescent curiosities. Based on the life skills described by Ross and Olsen, the main


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character of the novel possesses and/or develops the life skills necessary, as described by Ross

and Olsen.

The Ohio Department of Education also believes that life skills and moral development

are necessary. They value character education and believe that the ultimate goal is to influencestudent behavior and that learning basic American values will improve the social and natural

environment for everyone (p. 256). The values listed are compassion, courtesy, tolerance, self-

discipline, diligence, responsibility, self-respect, courage, and integrity (p. 256). The ten traitslisted play a major role in the moral development of adolescents. The school should help students

to recognize these traits and help further students develop through tasks and education. One way

to do this is to read novels with characters who possess of develop these traits, like Persepolis.Robert J. Havighurst, author ofDevelopmental Tasks and Education, reinforces the above

theories by his study of developmental tasks. He defines a developmental task as developing

attitudes toward social groups and social institutions and developing a conscious moral judgment(p. 38). He explains that adolescence is about the social and emotional and that they must

become persons in their own rightpersons who are in charge of their lives, who know who

they are (p. 44). Once again, this struggle is seen with Marji throughoutPersepolis, as she

struggles with defining herself when there are people in her life trying to tell her who she shouldbe.

Furthermore, Havighurst claims that it is the schools responsibility to take part in

helping students with their developmental tasks. There is no developmental task of children or

adolescents which the school can completely ignore(p. 27). He suggests that one way toaddress this is by reading books. He encourages reading about the history of the region and of the

nation and that literature is an especially good vehicle for this purpose (p. 80). In an

increasingly globalized society and an increase in immigration and emigration, students shouldalso be reading about other nations.Persepolis is a good novel for students to read about the

history of the Iran, a country that is very frequently misrepresented.

In American School Textbooks: How They Portrayed the Middle East From 1898 to

1994, Hani Morgan, discusses the incorrect and stereotypical way that textbooks have portrayedthe Middle East and asserts that they contributed to the existing stereotypes of the Middle East.

Morgan attributes the cause of these stereotypes to the idea of nativism, the belief that only

North American and Western European ancestry should be leaders (p. 316). Part of the creation

of stereotypes is in the images of the Middle East in textbooks. These images are often showingpeople in strictly desert land with camels, neglecting to show the cities. Perhaps the major

contributor is the faulty or incomplete descriptions of Islam. The texts both focus on violenceand fail to include Islam in discussions of lifestyles and aspirations, like other religions are

discussed (p. 318). The Islamic faith is attacked by the emphasis on violence, jihads, referred to

as fanatical, neglecting positive aspects of the religion, implying it is not worthy of other

religions, and ignoring the violence associated with other religions, like the Crusades (p. 325).Textbooks have even gone as far to say the Middle East are uncivilized people, and imperfect as

Europe was a thousand years ago, and also torture is necessary due to the uncivilized (p. 327).

It is clear that the portrayal of the Middle East is negative and how this can easily

produce stereotypes. The beliefs of the authors contribute to the development of children and

adolescents, and those beliefs will be carried out in their lives. Current textbooks are working toeliminate the bias against the Middle East, but the attitudes and beliefs can still show through in

the text. One way to counteract the textbooks is to provide literature that accurately portrays theMiddle East.

Louise M. Rosenblatt, an American literary critic and author ofLiterature as

Exploration, also discusses the power of reading in the classroom that goes beyond instructing

students and helps students make connections and learn about things that would normally beinaccessible. Rosenblatt explains that through literature, students can broaden their world. This is


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useful considering our lives may be so monotonous, so limited in scopethe understanding of

the wide range of human capacities and human problems may be denied us except through the

medium of literature (p. 39). For adolescents who know little from their own lives, literature

can be a means of learning about others, and a way to help students handle social, psychological,and ethical concepts (pp. 102-103).

Persepolis provides a great medium for students to enlarge their world by experiencing

another culture. Rosenblatt explains that books are a means of getting outside the limitedcultural group which the individual is born (pp. 183-184). Iran is a country that the majority of

students knowledge will extend no farther than the stereotype of terrorists. Experiencing another

culture will help the students understand and battle those stereotypes. In addition to theexperience of another culture, students will be able to intimately get to know the characters; also

identify with the character and compensate for lacks or failures in their own lives, thus giving

them a satisfaction from reading (p. 40).Katrina Willard Hall, author of The Importance of Including Culturally Authentic

Literature, discusses the importance and careful consideration necessary when choosing what

books to include in the classroom. She asserts that to build a classroom community, the teacher

must pick authors who authentically depict various cultures and backgrounds (p. 80). She alsodiscusses that with the increase in diverse classrooms, the books the teachers use should reflect

that increase, excluding older books that contain stereotypes and mainly white characters. One of

the primary tasks of a teacher is guard against these stereotypes as students develop, and

choosing books that are authentic is a way to do this (p. 81).Persepolis is an authentic piece ofliterature, written about Iran by a girl who spent her childhood in Iran. It depicts Iran in an

alternative way that a group of terrorists, the way they are usually depicted in American texts.

Furthermore, teachers should consider those races, ethnicities, and cultures that are notrepresented in their classrooms and offer children books that depict the world outside so

children can see a more global picture (p. 83). She continues to encourage that even books

about cultures outside of the classroom should be carefully chosen. That in the book the diversity

and uniqueness within that group should be evident (p. 85).Persepolis is a perfect example ofthis. The novel conveys different political and religious groups and beliefs within Iran. Much of

the purpose of writing the novel was to show that not all Iranians are the same. Ultimately,

choosing books that are authentically and culturally diverse helps students with their own

growth, and to develop and foster childrens acceptance and understanding of others.In A Clash Between Cultures: An Approach to Reducing Cultural Hostility in

Homogeneous Classroom, written by David Hunt, the importance of teaching diversity in non-diverse classrooms is addressed. It can be difficult for teachers to teach about diversity when a

lack of diversity is seen in the classroom, and some teachers fail to see the need for a culturally

sensitive classroom. Hunt discovered through research and study that instructors do not need to

feel this way about teaching diversity. Hunt states that in some cases [o]ne difficult problem tocope with when teaching about cultural differences is trying to overcome individual or group

hostility toward certain dissimilar cultures. In some situations cultural difference problems go

beyond mere cultural insensitivity and become severe clashes between civilizations and their

value orientations (p. 64). Hunt cites the Iran and United States cross-cultural hostile

relationship as an example of this cultural hostility, and dates it back to the time of the Shah (p.64). This hostility creates a barrier and makes it difficult for teachers to create a culturally

sensitive environment and individual awareness of difference. This is especially difficult afterSeptember 11, 2001.

The article, Reconsidering Peace and Multicultural Education after 9/11: The Case of

Educational Outreach for Muslim Sensitivity Curriculum in New York City by Seyfi Kenan,

discusses the effects of the September 11 tragic events in New York City and the effect it had onstudents of the Middle East communities in New York. They were subjected to several


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instances of verbal and physical harassment and attacks due to the anti-Muslim backlash (pp.

173-174). It was so bad that parents had to keep their children from school. A curriculum was

designed to promote understanding and learning of various cultures and religions, particularly

the Muslim communities.The curriculum was divided into modules, and one portion of a module was Towards

Understanding Islam and Muslims (p. 175). Research shows that reading books about other

cultures helps create and understanding and acceptance of others groups. Though a teacher maynot be able to implement the exact curriculum that New York schools used, by using books in the

classroom that authentically depict other cultures, the same goals can be achieved.Persepolis is a

book that works toward this goal and would be a great tool in the classroom. By implementingcurriculums that include towards an understanding of other culture and religions, schools are

working towards tolerant, peaceful, and diverse communities (p. 178).

Another way to usePersepolis in the classroom is to help immigrated students cope withtheir new lives. Marcia Baghban discusses this idea in Immigration in Childhood: Using Picture

Books to Cope. Immigrant children are faced with difficult tasks, because there is a lack of

connection between the school and home. All children live between the worlds of home and

school, but for immigrant children, there is clear disparity between their home and schoolworlds differences in clothing, lunches, hair maintenance, and head covers make them stand

out, even in mixed urban schools (p. 72). It is vital to the success of these students that the

teachers include books about their culture and people like them. When teachers include books

about the negotiation of another culture in the curriculum, children learn through reading thatstories can be about people like them, that stories of their experiences are worthy of being in a

book, and that other children have felt the way they do. (p. 71). Iran makes us a small number in

the immigrant population, which makes it even more important. Larger immigrant cultures areable to relate with one another, but for those from Iran and other Muslim cultures, they are even

more isolated. For this reason, the vitality of having books about their culture in the classroom is

increased.

All of the above theories and research exemplify howPersepolis is a novel that can beused in the classroom to help students develop and also can be used to create a culturally

sensitive classroom that goes beyond stereotypes. These theorists have done extensive research

and are highly valued in their fields, thus showing thatPersepolis is a valued novel that will

benefit adolescents who read it, and that it should be included in every classroom.

Objectives, Teaching Methods, and Assignments

The Ohio Department of Educations (2004) Academic Content Standards K-12 English

Language Arts can be applied to classroom instruction ofPersepolis. This section focuses on

appropriate standards, methods, and activities based on Satrapis novel. The reviewers suggestthis book for grades 7-12, this section will focus on the objectives for grade 11 and how to

appropriately use this novel.

Reading Process Standard

Ohio Benchmarks, grades 8-10Grade Level Indicators

Benchmark A: Apply reading strategies to understand grade-appropriate text (p. 168).

Grade Level Indicator: Apply reading comprehension strategies, including making

predications, comparing and contrasting, recalling and summarizing and makinginferences and drawing conclusions.


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Activity/Discussion: Discuss the text with students and use good reading strategies during

discussion to aid students while reading the novel. Also have students apply good reading

strategies by writing about the text, or annotating the text.

Benchmark B: Demonstrate comprehension of print and electronic text by responding to

questions (e.g., literal, inferential, evaluative and synthesizing) (p. 168).

Grade Level Indicator: Answer literal, inferential, evaluative and synthesizing questions

to demonstrate comprehension of grade-appropriate print texts and electronic and visual

media.Activity/Discussion: Follow reading with a discussion about the text, asking students

questions that cause them to recall the text, infer, evaluate and synthesize.

Literary Text Standard

Ohio Benchmarks, grades 8-10

Grade Level Indicators of grade 10

Benchmark A: Analyze the interactions between characters in the literary text and how the

interactions affect the plot (p. 169).

Grade Level Indicator: Compare and contrast an authors use of direct and indirectcharacterization, and ways in which characters reveal traits about themselves, including

dialect, dramatic monologues and soliloquies.

Activity/Discussion: Discuss how the characters reveal traits about themselves throughthe use of dialogue. Discuss how the characters traits reveal their actions in the novel.

Students could also do character mapping.

Grade Level Indicator: Distinguish how conflicts, parallel plots and subplots affect the

pacing of action in literary texts.

Activity/Discussion: Discuss how conflict in the novel and subplot affect the interactions

among characters. Discuss and analyze how the action/purpose of the literary textconflicts throughout affect.

Benchmark B: Explain and analyze how the context of setting and the authors choice of point of

view impact a literary text (p. 169).

Grade Level Indicator: Analyze the features of setting and their importance in a literarytext.

Activity/Discussion: Discuss the setting that occurs throughout the novel in relationship

to other literary elements such as metaphors and foreshadowing. Have students discuss

how each setting impacts the situation in the text as well as the text as a whole.

Benchmark D: Identify similar recurring themes across different works (p.169)

Grade Level Indicator: Interpret universal themes across different works by the same

author or by different authors.

Activity/Discussion: Discuss the other works of this author, comparing and contrasting.

Also discuss other authors works similar to this novel in themes, style, topic, and genre.Students can write a small essay comparing and contrasting works.


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Benchmark E: Analyze the use of genre to express a theme or topic (p. 169).

Grade Level Indicator: Analyze how an authors choice of genre affects the expression ofa theme or topic.

Activity/Discussion: Discuss the unique genre of the novel, and determine how it affects

the way the themes and topics are presented and read. Debate how a different genre mayaffect the novel.

Benchmark G: Explain techniques used by the authors to develop style (p. 169).

Grade Level Indicator: Explain ways in which an author develops point of view and style

(e.g., figurative language, sentence structure and tone), and cite specific examples fromthe text.

Activity/Discussion: Discuss the authors style of writing and how it differs from other

texts read. Discuss how the point of view contributes to the style of the novel. Have

students write a short essay discussing this, using examples from the text.

Writing Process Standard

Ohio Benchmarks, grades 8-10


Benchmark A: Formulate writing ideas and identify a topic appropriate to the purpose and

audience (p. 170).

Grade Level Indicator: Generate writing ideas through discussions with others and from

printed material, and keep a list of writing ideas.

Activity/Discussion: As a class, brainstorm reactions to the novel, characters, plot,climax, solutions, and any other things students would like to mention. Discuss the

impact of each within the novel.

Grade Level Indicator: Determine a purpose and audience and plan strategies (e.g., adaptingfocus, content structure, and point of view) to address purpose and audience.

Activity/Discussion: Have students discuss as a class, ideas for a specific audience andpurpose for their writing. As a class, come up with clear specific goals that align with

character development and clearly address the intended audience.

Writing Applications StandardOhio Benchmarks, grades 8-10


Benchmark A: Compose narratives that establish a specific setting, plot, and a consistent point of

view, and develop characters by using sensory details and concrete language (p. 170).

Grade Level Indicator: Write narratives that: (a) sustain reader interest by pacing actionand developing an engaging plot (e.g., tension and suspense); (b) use a range of strategies

and literary devices including figurative language and specific narration; and (c) include

an organized, well-developed structure.

Activity/Discussion: Instruct students to write their own narratives, modeling the structureand techniques used by the author.


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Benchmark B: Write responses to literature that extend beyond the summary and support

references to the text, other works, and authors or to personal knowledge (p. 170).

Grade Level Indicator: Write responses to literature that organize an insightful

interpretation around several clear ideas, premises or images and support judgments with

specific references to the original text, to other texts, authors and to prior knowledge.Activity/Discussion: Write a literary analysis of the novel, using insightful interpretations

of the text based on characters and plot. Make sure you support your statements using the

text or other sources. Try to convey clear ideas and present the reader with a clear imageof what you are trying to analyze within the text.

Grade Level Indicator: Produce informal writings (e.g., journals, notes and poems forvarious purposes.

Activity/Discussion: While reading the novel student can produce informal pieces of

writing that focus on their reactions, such as a journal. They can also write their own

thoughts and opinions. This activity will help them to bring questions and ideas to classdiscussions as while as write independently knowing that no one will be reading their

writing.

Benchmark E: Write a persuasive piece that states a clear position, includes relevant informationand offers compelling evidence in the form of facts and details. (p.170)

Grade Level Indicator: Write persuasive compositions that: (a) support arguments withdetailed evidence; (b) exclude irrelevant information; (c) cite sources of information.

Activity/Discussion: Students will write a persuasive piece that clearly establishes an

argument and provides clear evidence. This will help students to look at characters and

plot of the text in comparison with sother novels. Students should make sure there isrelevant and current information being presented to the reader. The composition should

include proper citations.

Additional Teaching Activities and Discussions

1. Have students write a research paper about Iran and the events described in the novel.Students can research the historical facts and compare them to the facts Satrapi presents

in the novel. Students can discuss the differences and similarities, and also what

insightful information is found and how the research and the novel contribute to each

other.2. Students can practice writing in the graphic novel format. This will incorporate different

learning styles into the activity. Students can write about their own history from the

perspective of their childhood.

3. Before reading the novel, have students free write about their knowledge of Iran and anyprejudices they may have. Repeat the same activity after the novel is read, and discuss thechanges that were made. Try to discover the source of the prejudices, and action that can

be done to make changes.4. Have students compare themselves to Marji when they were children. Discuss similarities

and differences, and parts of her life that they could relate to. Try to determine how they

would each react under similar circumstances.


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5. Give students the following prompt: Compare and contrast Marjis parents, and otheradults in her life. How does each contribute to her personality and behavior? How do

your parents or other adults influence your behavior?

6. Divide the class into small groups and allow them to pick an aspect of the Iranian cultureand/or religion to research further. Groups will present their findings to the class.

7. Have students create a newspaper using events from the novel as the articles. This can bedone as an individual project (only do a front page or one article), or as a group or classproject.

8. Students can write poems in their response to the novel as a whole, or particular parts ofthe novel.

9. Assign students to gather prejudice and discriminatory statements regarding the cultureand religion in the novel. Discuss these artifacts to help re-evaluate personal beliefs and

those of the community/country.10.Marji and her family broke the law several times throughout the novel. Discuss what it

means to be under oppression, and the ideas of law and criminality. Place it into a context

of America, asking students what they would do if things they loved were forbidden

(television, video games, internet, cell phones, fashionable clothing, ect.).

Possible Objections

There are several possible objections to the teaching ofPersepolis because of thecontroversial content and themes found within the novel. E.B. Jenkinson (1986) discusses the

sixty most common targets of banned materials in schools in his bookThe School Protest

Movement: 40 Questions and Answers. Of the sixty that Jenkinson mentions, there are nine thatcan be applied to Satrapis novel. Of these n ine are conflicts between child and adults, profanity,

women in nontraditional roles, stories about pagans, violence, sexual acts, negative statements

about authority and America, prompts to questions value judgments, and depressing thoughts.

Perhaps the most blatant objection to the novel would be that it is a story about pagancultures and lifestyles.Persepolis takes place in Iran, an Islamic country. Some consider the only

appropriate religion to be read would be Christianity, and anything else may cause readers to

question their religion and lifestyle. Another objection would be thatPersepolis prompts students

to question value judgments made by others (p. 53). One of the purposes of reading this novel isto show that the judgments made by Americans are stereotypes and do not apply to all Iranians.

According to Jenkinson, some would rather students believe what they are told rather thanchallenge their own values.

One of the objections that Jenkinson identifies is novels, stories, poems, or plays that

portray conflicts between children and their parents or between children and persons in authority

(p. 51). InPersepolis, Marji blatantly goes against her parents instructions and goes to a protest.A major theme of the novel is also defying the fundamentalists in power, those in authority.

Marji speaks her objections in class frequently and to the police on the street, as her parents

break laws as well. These examples could be seen as bad examples for childrens behaviors,

encouraging them to disobey. In addition to that, literature containing negative statements about

parents, about persons in authority, about the United States, about American traditions ischallenged (p. 52). It is a commonly held belief that Iran and America do not agree with one

another; therefore Americans are portrayed in a negative way and all signs of the Western worldare prohibited.

Another objection to the novel is profanity. In a few instances, language is used to

convey strong emotion or meaning. It is likely that this language would be objectionable, and

many could deem it inappropriate. Jenkinson also states another objection is passages thatdescribe sexual acts explicitly, or passages that refer to the sex act (p. 52). In another instance,


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the profanity is in reference to a sexual comment. There are also discussions about virgins and

related customs. These topics may be considered inappropriate.

Jenkinson states that literary works that portray women in nontraditional roles (anything

other than housewife and mother) are often challenged, though this portrayal of the woman islimiting and sexist (p. 51). Marji oversteps her boundaries as a girl by being very strong willed

and refuses to allow her gender to prohibit her dreams of becoming the Last Prophet. Marjis

also does not limit herself to the traditional womans role. She is very active in politics andprotesting. In the home, she is not portrayed as submissive, but rather an equal to her husband.

The final two possible objections to the novel are violence and depressing thoughts. In

Persepolis, Iran was at war with itself and with Iraq. Violence was a part of the daily life:bombings, torture, beatings, and murder. As a result, Marji and others do suffer from depressing

moods and their thoughts are not always cheerful. They face significant turmoil and their outlook

is not always positive. Some would prefer to shelter readers from this harsh reality andknowledge of war and depressing experiences.

Though there may be objections to parts of this novel, censors fail to recognize the

benefits that outweigh the objectionable material. The censored material is not likely to affect

students in a negative way, but students will definitely benefit and learn significantly fromreadingPersepolis. To rebut these objections, it is necessary that young adult literature be taught

in the classroom. Margaret Sacco (1994), in The Censorship of Young Adult Literature, explains

that literature helps teenagers develop compassion, understanding, and tolerance by reading

literature about people who are different (p. 66). Sacco also states that literature gives teens anunderstanding of the world and the ways in which people find their places in it (p. 69).

Furthermore, young adults can gain vicarious experiences and discover the universality of

adolescent experiences safely between the covers of a book with a teachers guidance (p. 69).Persepolis is a book that can be used for these purposes, since it is about a culture and people

very different from American young adults.

Sacco states that censors want to teach student values, but that in reality students should

be taught to think critically and formulate their own values (p. 69). By reading literature, studentsare able to question and develop these values for themselves, and inPersepolis students will

question the American values and stereotypes attached to Iran, as well as their own governments

policies. In the end, it is virtually impossible to select a book that at least one person will not

find objectionable (p. 66); therefore educators should choose books that will benefit studentsrather than attempting to find a book that everyone will approve.

Why Book Should Not Be Banned

According to the Common Groundpamphlet distributed by the National Council of

Teachers of English and the International Reading Association (1993) all students in publicschool classrooms have the right to materials and educational experiences that promote open

inquiry, critical thinking, diversity in thought and expression, and respect for others. Denial or

restriction of this right is an infringement of intellectual freedom. By censoring young adults

access to literature, the rights of the students are being violated. Students have to right to explore

and gain knowledge about themselves and the worlds around them.In a pamphlet titled The Students Right to Read, The National Council of English

Teachers (1982) states that for some people the purpose of education is not the investigation ofideas rather the indoctrination of certain set beliefs and standards (p.1). With this idea in mind,

the purpose of education is to instill in students one set of beliefs and behaviors. This is not the

purpose of education. Education should expose students to ideas and knowledge and guide them

through the critical thinking and decision making process to determine their own set of beliefs.


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The censorship of books handicaps students ability to think for their own selves and to confront

contradictions and confusion.

Philip M. Anderson (1994), author ofIn Defense of the Aesthetic: Technical Rationality

and Cultural Censorship, argues that censors want nothing less than to limit the content and theform of the culture as a means of controlling thought and behavior (p.3). Censors, regardless of

intentions, are limiting students knowledge and as a result are controlling them. Young adults

have a right to this knowledge, and though it may be banned through literature in books, theywill find access to it in some other form. Between the pages of a book is a safer and more

responsible way to learn, rather than through experimentation and misrepresentation from the

wrong sources.InAcademic Freedom: Student Rights and Faculty Responsibilities, David Moshman

(1994) states that academic freedom is better construed as resting on the intellectual needs and

First Amendment rights of students (p.34). Access to literature and choice in what to read is aFirst Amendment right of young adult. It is their right to choose what they will read and by

restricting and limiting those choices, their rights are being stripped away. Young adults should

be given the opportunity to practice their First Amendment rights, and begin to make their own

decisions with choosing what books to read. In the classroom environment and the aid of ateacher, students will be guided through this process and have the opportunity to discuss the

books that they have chosen to read.

Lester Asheim (1953) discusses inNot Censorship But Selection the difference between

control and liberty. Asheim states that selection seeks to protect the right of the reader to read,censorship seeks to protectnot the rightbut the reader himself from the fancied effects of his

reading. The selector has faith in the intelligence of the reader; the censor only has faith in his

own (p. 67). He compares selection to democratic principles and censorship to authoritarianones. Young adults are capable of selecting their own books and making good choices while

doing so, but they need adults to allow them to do so. Since this is a democratic society and

almost anything authoritarian is frowned upon, censoring books rather than giving students the

right to selection would only contradict founding values.Young adults are intelligent and have the capacity to enter a realm of knowledge and

determine their own thoughts and ideas, especially if the material is controversial. Reading

controversial materials does not hurt students or corrupt them, but broadens their knowledge of

the world; which can only benefit them when faced with important decisions. It is impossible toinstill in students everything they need to know, but by introducing them to literature they can

explore on their own values needed and gain the knowledge necessary to make good decisions.Censorship takes away the freedom and rights of students and young adults; regardless of the

reasons this should not happen.

Alternative Book List

Abdolah, K. (2007).My father's notebook: A novel of Iran. New York: Harper Perennial.

Ishmael is the son Aga Akbar, born as a concubine to a Persian nobleman. Aga Akbar

was both mute and death, so as a means to communicate he recorded a makeshift

language into a notebook during the 20th century in Iran. Years later, Ishmael attempts todecipher the language and connect with his father, although their different beliefs keep

them separated.

Alavi, N. (2005). We are Iran: The Persian blogs. New York: Soft Skull Press.

Since September 2001, blogging has swept across Iran. This book contains several of

these blogs. It is both an archive of what Iranians think of their country, but also analternative history to past events. Many of these blogs were written by skilled writers


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bypassing censorship, or others as a means of communication. This is an in-depth look at

the lives of people, written by those actually living it.

Amirshahi, M. (1995). Suri & co.: Tales of a Persian teenage girl. Austin: University of Texas.This book consists of eight fictional tales, told from the point of view of an Iranian

teenage girl. These stories recount her daily life in Iran before the Revolution in her

upper-middle class family. Originally written in Persian, this work is translated intoEnglish discusses the culture and traditions of Iran.

Asayesh, G. (2000). Saffron sky: A life between Iran and America. Boston: Beacon Press.As a young girl, Asayesh moved from Iran into the United States. Now older with

children, she is forced to address her loss of culture and her anger towards American

racism. This memoir deals with immigration, race, and cultural assimilation as it movesback and forth from past to present.

Bahrampour, T. (2000). To seeand see again: A life in Iran and America. Berkeley: University

of California Press.Bahrampour spent most of her childhood in Tehran, but due to her families Western ties

they fled to safety in 1979. The change was difficult for her family, as her parents

struggled to make a living and she finding it difficult to leave her life behind and become

an American teenager. Later in life, she returned to Iran to find it hostile and complex,yet she still felt a connection.

Bird, C. (2002).Neither east nor west: One woman's journey through the Islamic Republic ofIran. New York: Washington Square Press.

Bird, who spent part of her childhood in Iran during the reign of the Shah, she once again

visits Iran, travelling alone. Even with her knowledge of Iran, she is surprised by what

she encounters and in an attempt to dismantle stereotypes; she is forced to confront herown. The result is an insightful story.

Ebadi, S and Moaveni, A. (2007).Iran awakening: One woman's journey to reclaim her life and

country.New York: Random House.Shirin Ebadi, winner of the 2003 Nobel Peace Prize and human rights activist, recounts

her life in Iran in this memoir. As an outspoken and controversial woman, she recountsher life before the Iranian Revolution, her career, marriage and children, and the

persecution she faces.

Gilmore, K. (1986).Remembrance of the sun. Boston: Houghton Mifflin.Jill is the daughter of an American oil engineer on assignment in Iran. There she meet

upper-middle class Iranina radical Shaheen, with whom she develops a close relationship

and love affair. As Jill tries to assimilate into the Iranian culture, the country is falling

apart under the Shahs oppressive regime.

January, B. (2007) The Iranian Revolution. Minneapolis: Twenty-First century Books.

This is a concise and informative book about how the Iranian Revolution transformedIran from a monarchy to the Fundamentalist Islamic Republic, in an accessible and

attractive way. The book gives background information, facts about Iran, and the impact

the revolution had on the people and the politics.

Laird, Elizabeth. (1994).Kiss the dust. London: Puffin.


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This novel follows the story of a Kurdish family, a people that live in the mountains that

border Iraq, Iran and Turkey who suffer prejudice. When Tara is thirteen, after a

traumatic event, she realizes the political situation. At that point, she still lives in the city,

but is soon forced to flee into the mountains. This begins her life in the harsh conditionsof refugees. Will she ever get to return to her normal life?

Meade, A. (2007).Dawn and dusk. New York: Farrar, Straus, and GirouxAzad is a thirteen-year-old boy living in Iran in the 1980s, in the midst of war with Iraq.

His parents are divorced but he doesnt know why and he suspects his father is connected

to the Iranian secret police. Struggling with his relationship with his father and living in acountry at war, Azad experiences adolescent troubles and multicultural complexities.

Moaveni, A. (2009).Honeymoon in Tehran: Two years of love and danger in Iran. New York:Random House.

While in Tehran working as a journalist, Moaveni unexpectedly falls in love, gets

pregnant, and gets married. As she is reporting on the politics of Iran, her situation

reveals a new aspect of Iran she hadnt seen before, that of young couples. Iran is acountry that has little tolerance for unmarried and pregnant couples. The result is a book

that is a blend between political commentary and social observation.

Moaveni, A. (2006).Lipstick jihad: A memoir of growing up Iranian in America and Americanin Iran. New York: PublicAffairs.

Moaveni was a child born in American of Iranian exiles. She went to Iran as a reporter to

find the truth behind Iran, but also discover her connection to the country. The bookfollows her through this experience as she learns to adapt to the culture, and comments on

how teens lives are very different in other countries.

Molavi, A. (2005). The soul of Iran: A nation's journey to freedom. New York: W. W. Norton.Since the Iranian Revolution, the youth of Iran have changed from hoping for death to

America to wanting to move to America. Molavis narrative combines together historical

insight, political analysis, cultural observations, and daily realities. This narrative

portrays an Iran much different than the one Americans know.

Rachlid, N. (2007).Persian girls: A memoir. New York: Tarcher.This novel tells the story of an Iranian girl growing up in a country where women had no

power or autonomy. The story is a tragic one, as Rachild suffers a lot of loss. She was

raised by widows who took refuge in their religion, until one day her birth father came

and took her away. Unhappy with her life, she escapes to America to avoid the fate ofmost Iranian women.

Rubin, Barry. (2007). The Iranian Revolution and the resurgence of Islam. Broomall: Mason

Crest.

This book examines the history and ideology behind the Islamic movement. It does thisthrough a discussion of the Iranian Revolution and other revolutionary Islamism during

the 1980s through the 1990s, including jihadism.

Sciolino, E. (2005). Persian mirrors: The elusive face of Iran. New York: Free Press.

Prominent American reporter for theNewYork Times, Sciolino has explored Iran since

1979. In this book, she reveals the multi-faceted Iran, in both the public and the privatelife. This book attempts to capture the inner life of the country that is normally hidden.


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Wearing, A. (2001).Honeymoon in Purdah: An Iranian journey. New York: Picador.

Twenty years after the Revolution, most Americans still consider Iran an anti-American

warren country that they would never consider travelling tonot Wearing. Refusing toaccept those ideas, she and her gay roommate posed as newlyweds who chosen Iran as

their honeymoon site. She recounts her vacation and the surprising and absurd moments,

as well as the Iranians stories and actions touched her.

Wright, R. (2001). The last great revolution: Turmoil and transformation in Iran. United

Kingdom: Vintage.Wright, a reporter in Iran since 1973, gives the reader an account of the Iranian

Revolution and its aftermath. She draws from her own experiences and numerous

interviews. This is a unique perspective on the cultural and political transformation thatoccurred as a result of the Revolution, and on the Islamic culture.

Zanganeh, L. (2006).My sister, guard your veil; my brother, guard your eyes: Uncensored

Iranian voices. Boston: Beacon Press.This book is a collection of essays written by contemporary Iranian writers, some

originally written in French or Persian and translated into English. These essays attempt

to provide insight into the Iranian culture, confronting stereotypes and giving a more

realistic perspective of Iran. The essays show the diversity within Iran and the serous andsensitive issues that they face.

Biographical Information about the Author

Marjane Satrapi was born in Iran in 1969. She was the great granddaughter of the last

Qadjar emperor of Iran, who was deposed by the father of the latest Shah of Iran. Naturally, her

parents were against the regime of the Shah; therefore they supported the removal of the Shah in1979. Her parents were among many who protested during this time, but after the removal of the

Shah was followed by strict religious rule that made matters worse. She went to a French high

school in Tehran, but her free thought and rebellious personality became a problem when she

questioned teachers. Her parents feared her safety and wanted her to live freely, so they sent herto Vienna to study when she was fourteen years old. After many experiences in Europe and

finding she didnt belong, she decided to move back to Tehran at the age of eighteen. WithTehran still under strict religious rule, Satrapi struggled with adjusting to the culture and learned

she did not belong in Iran either. After graduating from Tehrans School of Fine Arts, she

decided to move to France, where she studied art in Strasbourg and later moved to Paris. Satrapi

started her career writing and illustrating childrens books. After being introduced to graphicnovels, especially Art SpiegelmansMaus, she found a way to represent her childhood

experiences. She learned that she could tell stories and discuss serious issues in the same format.

From this realization, she createdPersepolis, followed by other graphic novels about her

childhood and growing up. Satrapi lives in France, and has become a spokeswoman for her

country, against war and oppression. She has not visited Iran since writingPersepolis, due to thecriticism she received from the regime and possibility threat to her safety.

References

Abdolah, K. (2007).My father's notebook: A novel of Iran. New York: Harper Perennial.

Alavi, N. (2005). We are Iran: The Persian blogs. New York: Soft Skull Press.


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Amirshahi, M. (1995). Suri & co.: Tales of a Persian teenage girl. Austin: University of Texas.

Anderson, P.M. (1994). In defense of the aesthetic: technical rationality and cultural censorship.J.E. Brown (Ed.), Preserving intellectual freedom; Fighting censorship in our schools,

(pp.3-16) Urbana, IL: National Council of Teachers of English.

Asayesh, G. (2000). Saffron sky: A life between Iran and America. Boston: Beacon Press.

Asheim, L. (1953, September). Not censorship but selection. Wilson Library Bulletin, 28, 63-67.

Baghban, M. (2007). Immigration in childhood: Using picture books to cope. The Social

ncte rationale persepolis

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