Persepolis 2: Why does it matter?
Persepolis (1 and 2) is definitely a different take on some very important historical moments in Iranian history. I think the biggest reason this story sticks with me is because of the child narrator. To read a story that takes place with a child narrator brings more emotion to the piece because you are not just seeing it through the memory of an innocent person but an innocent child. I also really like the fact that Satrapi produced the story in a graphic novel form because it is a much easier delivery of such traumatic events. By producing the story in a graphic novel, it is easier for readers to stick with the story and not have to turn away because of the trauma. Persepolis will probably always be one of my favorite stories and it is for sure a story I would recommend others to read. Persepolis matters to me because it helps prevent people getting sucked into the single story.
Performing Democracy: Stories of women
When we see or hear about female protesters (the few and far between instances), the way in which the story is delivered is not the same way as male protesters. The protesting of women is linked back to their gender. “Instead, this article extols a women’s center, depicted against a hopeless backdrop. The Western frame–the feminist rescue mission–feeds a larger Western mythos that we much save women from Islamic culture” (201-202). Fadwa’s protest didn’t have to do with her Islamic culture. It had to do with the government and the unfair treatment she was getting that was preventing her form taking care of her children. Fadwa’s story matters because of not only the scale of her actions but because it forces observers to look past her gender and see a real problem within the government. This image of Fadwa burning herself in protest against the miss treatment carried out by the government is one that will always stand out against the typical images of protesting women.
Performing Democracy: Persepolis
Why was Persepolis censored? For one the “depictions of the divine” was “not permitted y legalistic Muslims” (104). It also demonstrated how spiritual beliefs could shift which could and would shift religious identities. Satrapi wrote the text “to defy stereotypes of an Islamic Iran, which is limited to ‘fundamentalism, fanaticism, and terrorism'” (104-105). Satrapi’s work dug right into political and religious spaces and challenged them greatly. And with the story hitting some very controversial topics, there would be the threat of protest and uprisings. It is no wonder that is was censored because it could be and was viewed as a threat.