Best Persepolis Book Reviews: Audiobook, eBooks, PDF Free, Podcast 2022

Persepolis Book Reviews
  • MatthewDusQues

We recently had the pleasure of reading the Persepolis book by Marjane Satrapi. The book is a graphic novel, or more specifically, an autobiographical account of the author’s childhood growing up in Iran during the Islamic Revolution. We found it to be a fascinating read, and I’m excited to share our thoughts on it with you today. Reading on to know more valuable Persepolis book reviews.

Persepolis Book Summary

Persepolis Book Summary Review

Persepolis is the story of a young Marjane journey of self-discovery in Iran. Through her experiences of joy and grief, she learns about her country’s political history and cultural landscape. Told through simple yet moving illustrations, Persepolis is a brave, humorous and honest account of life in a theocracy.

Marjane adjusts to the new Islamic Republic created by the revolution. It was not supported by the revolutionaries. A few powerful clergymen hijacked their vision of a democratic Iran.

The book captures the confusion of a young girl told by her school to support the Islamic regime, but her parents protest against it. Her life is turned upside down when most of the things she loved were banned.

Suddenly, only single gender institutions existed, and multilingual schools were shut down. The situation deteriorated over time. As Iran headed to war, all protests were outlawed, dissenters were tortured or executed, and drones were used in daily life.

Every day, Marjane became more brave and inquisitive. Her outgoing demeanor frequently got her in problems with the school administration and the Revolutionary Guard. As a result, when she was fourteen, Satrapi’s parents decided to move her to Austria.

With her newly acquired independence, she got overwhelmed. However, she quickly discovered that living alone was not her cup of tea, and she missed her family, culture, and homeland. She wanted to return to Iran because she felt lost and guilty. Returning to her birthplace was not as simple as she had anticipated.

Women had little prospects, and the country had been soiled by the war’s aftermath. The repressive and weird character of Iran’s dictatorial system was underlined by Marjane. Marjane skillfully communicated complicated current subjects like the veil and feminism, neo-colonialism, social movements, xenophobia, and the perils of fanaticism through her powerful images.

One sentence sums up why theocracies place such strict control over all aspects of the lives of their subjects so well:

“The regime had understood that one person leaving her house while asking herself, ‘Are my trousers long enough? Is my veil in place? Can my make-up be seen? Are they going to whip me?’, no longer asks herself, ‘Where is my freedom of thought? Where is my freedom of speech? My life, is it livable?

What’s going on in political prisons? It’s only natural! When we’re afraid we lose all sense of analysis and reflection. Our fear paralyzes us. Besides, fear has always been the driving force behind all dictators’ repression. Showing your hair or putting on makeup logically became acts of rebellion.”

She has made a persistent attempt to question the tight separation of Personal vs. Political by highlighting how the state’s frantic need to enact harsh laws to control women is founded on the patriarchal idea of women as men’s belongings.

Marjane decides to go to France towards the end of the novel, and she knows it will be for a long time. She saw her grandma for the final time since independence comes at a high cost for certain people.

Persepolis taught me a lot about Iran’s cultural heritage and convinced me of the universality of human interactions. Marjane composed the text in a childlike style to portray the innocence of a kid forced to grow up due to persecution and brutality. It’s a wonderfully illustrated coming of age story that also highlights other characters’ lives.

There was a lot of symbolism in the text as well. Because Marjane perceives the world in black and white, the book contains black and white pictures. Marjane sought to draw a clear contrast between good and evil, right and wrong, from the beginning to the finish.

The author has utilized straightforward language to convey complex ideas. Her major goal is to make the readers realize that multiple truths exist even when we are unable to see them. She has purposefully employed the cinch style of pictures.

Furthermore, she hasn’t shied away from expressing her viewpoints while still allowing the readers to draw their own judgments. Throughout the novel, Marjane, like another Iranian girl, is fighting the patriarchy in daily life.

This might be seen in tiny ways, such as her rebellious attitude toward her school authorities as a kid, her refusal to wear the veil and attend parties, or her socially incorrect actions, such as leaving her marriage after realizing she wasn’t happy and felt confined. The author all well captured her fluctuating ideas, rash and dangerous judgments, and fearless acts of resistance.

Differences Between Persepolis Book Vs Movie

Differences Between Persepolis Book Vs Movie

Persepolis Graphic Novels

Persepolis, Marjane Satrapi’s memoir masterwork, depicts the impact of the Iranian Revolution and conflict via historical events and personal experiences. The black and white cartoon figures in the visual tale help the reader empathize and engage with the story more fully.

When Satrapi departs from the comic’s general style, the image is intended to be taken more seriously to be examined for a longer time to discern the details.

On page 102, she slows down the story as she portrays the war dead, saying, “The key to paradise was for poor people. Thousands of young kids, promised a better life, exploded on the minefields with their keys around their necks” (102).

She contrasts this remark with a silhouette of numerous soldiers being blown up from explosives, their keys dripping from their necks.

The key in the first figure symbolizes the power of belief and the fact that these guys have died honorably in their eyes, believing they are on their way to heaven. After this horrifying scene, there comes a picture of a party.

The bodies in the first panel appear to be imitated by the dancers in the picture (the soldiers). The dancers are having a good time because they need to escape the country’s paranoia. The youthful troops in the bottom panel are a reference to the young soldiers who were fighting in the war at the time.

Satrapi juxtaposes these pictures to demonstrate the strength of optimism in such difficult times, and she does it by speeding up the narrative and demanding the reader’s attention.

Marji’s mother becomes enraged when she skips school in the chapter The Cigarette, Marji seeks safety in the basement. Images of the war’s past are combined with her somber slide down the stairs (115). Satrapi is seeking to demonstrate to the reader that the country is neither growing nor self-empowering. “So we plunged deeper into the war” (115). The disturbing photographs on this website also help the viewer sense the country’s humanity’s decency.

The image of Marji walking by the neighbor’s ruined building (142) is depicted in great detail not on the individuals but on the structure. The artwork demands the reader spend their time scrutinizing it since it is drawn with detail, which violates the novel’s basic visual tone. It slows downtime and gives you a sorrowful sense.

Overall, Persepolis allows the reader to see and empathize with events in Iran and the hardships that individuals faced. Because the visual story provides us historical but not extremely detailed pictures, we, as readers, are able to appreciate the struggles of the period (in general). Satrapi’s media use helps the reader engage with her tale while also learning about significant historical events.

Persepolis Movie

The cinematic adaptation of Persepolis keeps close to the graphic novel’s overall tone and aesthetic, but its goal is slightly different. While the book strives to depict Marji Satrapi’s tragic narrative, the film aims to teach the audience about Iranian history by omitting several sequences of Marji in Austria.

The narrator (Marji) swiftly recounts the residences she passed through across Europe in the film. The sequence in which Marji’s mother comes to see her while living with eight homosexuals is not included in the film. This scene was vital to Marji’s mental condition in the graphic novel, yet it isn’t even referenced in the film.

Could it be that the film’s primary goal was not to depict the tale of this young woman’s life from childhood to adolescence to womanhood? Is this why the majority of the parts in the novel where Marji ignores news about Iran aren’t included in the film? This may appear to be the case, but when we examine the sequences added to the film, we can find that these reasons are contradicted.

Momo, the main character of the book, is obsessed with death. Marji and Momo attend a heavy metal rock performance in the film, and Marji begins to dance with the throng.

Marji is separating herself from Iranian culture in this moment, which is emphasized by the fact that she pretends to be from France in the bar. This scene is included in the film to convey what it was like to be an Iranian in Europe at the time, not to depict Marjane’s mental turmoil.

Marji exits the pub when she denies her Iranian ancestry (in the film). We see her shadow, followed by another heading down the street. The shadow of the grandma of Satrapi tells her to be loyal to herself. This photograph helps the spectator to empathize with Marji and have a better understanding of her.

Despite the fact that this is not a real incident, it motivates Marji to return to Iran in the film. In the film, her stay in Europe is brief, and the scenes in which her lover cheats on her appear out of nowhere. It makes a lot more sense in the book and isn’t glossed over like so much of her time in Austria.

The film’s aesthetic is faithful to the novel; the characters are shown exactly as they are in the book, and most of the film is shot in black and white. The movie’s opening and finish are colored to reflect the current; the black and white segments are supposed to convey the sensation of a recollection or past. When we look back on events in our lives, we may perceive them in black and white, devoid of the color of current emotions.

Overall, the video does a fantastic job of conveying the historical facts of the revolution while also providing a much more visceral picture to the reader. The text, on the other hand, is far more in tune with Marjane’s feelings at the moment and establishes a link with the reader that the film could never achieve.

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Persepolis Quotes

Persepolis Quotes

“Nothing’s worse than saying goodbye. It’s a little like dying.” ― Marjane Satrapi, Persepolis: The Story of a Childhood

“I want to be justice, love and the wrath of God all in one.” ― Marjane Satrapi, Persepolis: The Story of a Childhood

“I had learned that you should always shout louder than your aggressor.” ― Marjane Satrapi, Persepolis: The Story of a Childhood

“Vais conhecer muitos idiotas na vida. Se te magoarem, lembra-te que é porque são estupidos. Assim, não vais reagir à sua crueldade, porque não há nada pior do que ser amargo e vingativo. mantem sempre a tua dignidade e sê verdadeira contigo mesma.” ― Marjane Satrapi, Persepolis: The Story of a Childhood

“Dalam hidup kau akan bertemu banyak orang brengsek. Kalau mereka menyakitimu, katakan pada dirimu sendiri itu karena mereka bodoh. Itu akan membantu mencegahmu bereaksi pada kekejaman mereka. Karena tidak ada yang lebih buruk daripada kebencian dan balas dendam. Selalu jaga martabatmu dan jujurlah pada dirimu sendiri.” ― Marjane Satrapi, Persepolis: The Story of a Childhood

“Once again, I arrived at my usual conclusion: one must educate oneself.” ― Persepolis: The Story of a Childhood

“Saying goodbye is a little like dying.” ― Persepolis: The Story of a Childhood

“I realized then that I didn’t understand anything. I read all the books I could.” ― Persepolis: The Story of a Childhood

“One can forgive but one should never forget.” ― Persepolis: The Story of a Childhood

“Listen. I don’t like to preach, but here’s some advice. You’ll meet a lot of jerks in life. If they hurt you, remember it’s because they’re stupid. Don’t react to their cruelty. There’s nothing worse than bitterness and revenge. Keep your dignity and be true to yourself.” ― Persepolis: The Story of a Childhood

“We found ourselves veiled and separated from our friends.” ― Persepolis: The Story of a Childhood

“To each his own way of calming down.” ― Persepolis: The Story of a Childhood

“For a revolution to succeed, the entire population must support it.” ― Persepolis: The Story of a Childhood

“You must base everything on these three rules: behave well, speak well, act well.” ― Persepolis: The Story of a Childhood

“I wanted to be JUSTICE, LOVE, and the WRATH OF GOD all in one.” ― Persepolis: The Story of a Childhood

“If hair is as stimulating as you say then you need to shave your mustache” ― Persepolis: The Story of a Childhood

“In any case as long as there is oil in the middle east they will never have peace” ― Persepolis: The Story of a Childhood

“I am the last prophet.

A woman?” ― Persepolis: The Story of a Childhood

“We were not in the same social class but at least we were at the same bed.” ― Persepolis: The Story of a Childhood

“I wanted to be justice, love and the wrath of God all in one.” ― Persepolis: The Story of a Childhood, Marjane Satrapi

“My natural optimism just leads me to be skeptical.” ― Persepolis: The Story of a Childhood

“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.” ― Persepolis: The Story of a Childhood, Marjane Satrapi

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