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Persepolis 1&2
In Persepolis, Marjane Satrapi tells a story in words and pictures of her life in Iran. The first book covers Satrapi's life from early childhood, until 14, when she leaves to study in Austria, and the second book covers her time in Europe, and her return to life in Iran up to her late 20s. This period covers the last years of the Shah, the revolution that overthrew him, the consolidation of the Islamic Republic, the war with Iraq, and through to the present. A tumultuous time indeed.
You would expect any account of growing up in Iran in the last generation to be heartbreaking and terrifying, and Satrapi's story is, but it is also funny in a grim sort of way that can only be told from inside a nightmare. Most impressive is that the author does not spare herself. She writes as unflinchingly about her own flaws, petty cruelties and bad decisions as she does about those of all those around her. The lessons learned are not idealized, and sometimes they are only partially learned, so her travel through life feels very real and very human.
Part of the appeal of the story to Westerners, of course, is that Marjane is a very modern Iranian woman. Raised in a very modern family that is upper middle class by Iranian standards, she struggles with social mores and the education system and we root for her because Westerners (particularly Americans) love stories about individuals overcoming adversity to become their own person. But that doesn't explain all of the story's appeal. What makes it so satisfying is the insight into the issue of modernity, and how it manifests through the life of a interesting and all too human character. We come to understand that being modern and being Western aren't the same thing. The West is an undeliably strong influence on Marjane and other modern Iranians, but in the story, simply copying Western ways proves unsatisfying at a minimum, and sometimes disasterous.
Ultimately, the story is about finding -- actually creating -- a life that is both modern and Persian. It is a tortorous path, and one that Marjane often has to tread alone. Marjane's friends follow the regime's draconian moral code in public, but break out the party life in private. Yet Marjane eventually comes to see this as a kind of adolescent rebellion against a parental force that cannot, at present, be overcome. An incident that illustrates this is her revelation to her closest friends that she's having sex with her boyfriend. Their shock and disapproval jars her into the realization that modern is a relative concept even amoung modern Iranians.
Marjane weathers her trials and emerges with a sort of wisdom. We admire her for it because she earned it the hard way. But we also hope, fervently, that people like Marjane will thrive, for they are the ones who will lead Iran into the future.
Charming, riveting and important
I read these books consecutively - having bought them as a box set - and I really enjoyed them. It gives us a genuinely intimate portrait of what life was like growing up in Iran, first under the Shah's right-wing dictatorship, then during the Islamic revolution which led to a clerical state and through the war with Iraq. The two-part memoir takes us from 1980 when Marjane was 10 years old through the 1990s when she's become a woman who had endured exile at a young age and a return to her country.
Because these are illustrated novels there isn't as much depth as there would be in a traditional novel. The characters aren't fleshed out in the narrative because we have the visual element available. And the visual element is wonderful. Through the relatively simple drawings the fear, turmoil, frustration and even humor of Marjane and her friends and family are easily identified and enrich the story tremendously.
At first I had a problem with the writing style - with the direct and simple prose. However, the more I read the more I became comfortable with the style, pacing and rhythm.
I would definitely recommend that these books be read together as a valuable introduction an overview of the history and traditions of Iran, as well as for the wonderful story of a little girl growing up in an impossibly complex and frightening environment.
Disappointingly light and schematic
I was really expecting the film that came out of this book and I have finally seen it. It is one of the greatest disappointments I have lived in a movie-theater for quite a while, all the more because I was expecting a lot from it. But I should have known better. The subject is too serious to be treated so lightly, yes lightly. What are her father and mother doing in Iran for them to have that much money, that comfort if not luxury, that durability that enables them to survive all regimes, all revolutions, all coup d'etat, when it is not simple religious putsches, and where did they get the money to enable her to live for several years in Vienna? The whole film becomes a collection of clichés, most of them purely existential. Let me give a couple. Cliché, the quotation of Lenin or Bakunin or some other names that bring nothing to the mind. Cliché, her boyfriend in Vienna who discovers he is gay and the relation is finished because of it: you have to be seriously concentrating on sex and only sex to make friends with someone and drop him as soon as he discovers himself unable to fulfill the sexual part of the relation. What about his personality, his originality? What about love and friendship in all that? Then the next one is seen in two directions and each one is a cliché:on one side he is a saint who ends up in bed with another girl; on the other side he is a monster who exploited the girl all along. She sure was a sucker and a dummy. But what does it bring to the film, to the story, to the ideas the film conveys, if it conveys any articulated idea? The point is notto say that the West sold weapons to both Iran and Iraq. That's normal since we are in a market economy and business is business: if I don't sell my weapons, my neighbor will sell his. So, what must I do? After all a French exocet missile was very effective in the Falkland Islands war in the 1980s... against the English. If Kellog refuses to sell his corn flakes to me, I will buy the corn flakes of any other brand. But what were the causes of this war? Why did Iran and Iraq manage to start a war between them two instead of finding a normal solution through discussions and negotiations? The film seems to express some kind of nostalgia for the good old days when there were two clear cut sides. Unluckily the old USSR has disappeared, but not one word about the support Iran provided, along with the CIA among others, to the anti-soviet fighters in Afghanistan. This film is simplistic but itdeals with extremely important issues, so it does not have the right to be that simplistic. Politics cannot be reduced to that superficiality. And the future of Iran is not in Paris. It is Tehran.
Dr Jacques COULARDEAU, University Paris Dauphine&University Paris 1 Pantheon Sorbonne
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