Alluding to Controversy: When Pictures Speak Louder than Words - Research Paper Example

Alluding to Controversy: When Pictures Speak Louder than Words In her graphic novel Persepolis, Marjane Satrapi makes some very subtle allusions tothemes and subjects that affected her childhood and adolescence. Here, an attempt is made to find one such allusion in her book, and determine how it applies to the entire volume: the allusion or hint at a codified theme in Persepolis is the page where Marjane discusses the changes that take place in her life during and after the revolution in Iran that toppled the rule of the Shah (Chabrol 2009). Most books contain allusions. These are passing references to subjects, themes, persons or places that are significant, or bear some resemblance, to the themes included in the main thrust of the book’s context (Hall 7). Sometimes allusions are concealed so well they are hardly noticed by the superficial reader. Sometimes, they are actually hidden codifications to give layers of meaning to the text. While discussing the beginnings of her life, after having mentioned the changes taking place in her country, Iran, she mentions that she was born into a family where religion was rather important. She mentions how when she was little, she thought she was the ‘last prophet’. The frame shows her wearing a long robe, with her face framed in the shape of the sun, and people hanging on every word that she said. She clutches a book to indication wisdom. The next frame is the one that contains the allusion: it shows a row of five prophets, with the caption “Before me, there had been a few others.” (Satrapi 6). This would make any reader smile, since it is a bit of an understatement: the prophets she depicts include Jesus Christ, Mohammed, Abraham, Zarathustra and the last one is probably Marx. All four were celebrated for their wisdom and foresight, and all four aroused controversies in the worlds of philosophy and religion, and therefore politics. The allusion this author makes bears weight for the entire book: hidden inside the story of her childhood is this reference to the world’s major belief systems, all in a line, and all questioning her ability to be a prophet, since she was a woman (Satrapi 6). On the surface, it is a sweet childish story, but a deeper significance is there for those who like to find added layers in similar narratives. It is really about how - although she as brought up in a religious family, they were very well educated, broad-minded and internationalized. This means that they did not hold narrow-minded opinions about customs, folklore, traditions and usages either of their own country, or about any other such as the United States of America, England, or France (Hersch 2009). Or about Christianity, Islam, Communism, Zoroastrianism or Zionism: they had ecumenical views. When they made their ideas public, however, they perceived it was not wise since it threatened their security. Before the revolution, they sent Marjane to a private school which was bi-lingual: her home language, and French. This seems to be a significant aspect of the home culture in which she was being brought up. Students who study the French language usually sit for the Baccalaureate exams whose certificates can literally open up the world for them, since they can eventually work in any country where they can find an occupation or an employer to sponsor them. Speaking and writing another language fluently meant a metaphorical passport for the residents of Iran. Although this might sound incidental to the selected allusion for this paper, it is important and bears mentioning. In 1980, Marjane’s schooling - as did the entire country - changed dramatically: her school was closed down, foreign languages were disallowed (Satrapi 5), the girls had to start wearing veils, and boys and girls were segregated. These three factors changed the way she perceived school and education in particular, and life in general. Mentioning as she did her childish notion that she was the ‘last prophet’ is a metaphor. That is, the author wanted to say that childish ambitions are rarely fulfilled, and when the government or regime of a country changes so radically, the possibilities for the future narrow even more. She suggests, by including Jesus Christ, Mohammed, Abraham, Zarathustra and Marx, that her family was open to the world’s philosophies, and were avant-garde enough to be able to discuss anything they liked without it becoming a divisive controversy. They were inclusive, and had a broad interest in the writings of these prophets. One of the things that Satrapi does very well in her books is write about, and define, various kinds of rebellion that have occurred all over the world since the beginning of time. The five prophets she mentions fomented rebellions that made a difference to the way people think. They instigated new ways of thinking through the things they said, the behaviors they encouraged, the writings they themselves - or others about them - popularized, and the notions that started waves of debate and controversy in the world. Because she places herself within the group of prophets, and counts herself of their number, Satrapi is saying that what she has to say about the position and status of women, the realm of education, the wearing of special religiously-defined clothing, and the closing off of entire countries because of a belief system, are things she cannot agree with. Page six, and the specific frames where she depicts the prophets, therefore, are a passing hint at all the controversies aroused by the change of regime in her country that stirred in her, and others, the desire and necessity of raising their voices. Satrapi’s protest is a mild one that can be given a number of readings: feminist, religious and political. It can still be read, however, as a simple delightful account of a child’s upbringing. To summarize: all children undergo changes in their childhood: Satrapi’s was perhaps more radical than the alterations taking place elsewhere at the time. Her themes are unusual, incisive and - because of the graphic novel genre, simply enjoyable. Still, the novel carries a message that most readers will find unique and specific to her voice and circumstance, and her allusion to the prophets indicates a desire to be inclusive and ecumenical. Sources cited Chabrol, Dominique (2009) Comic Artist Defy Tehran with Persepolis 2.0 AFP News < http://www.google.com/hostednews/afp/article/ALeqM5iLu3F0KP1RKg2j_n9fy9Nbqj ZlOA> Accessed May 11, 2010 Hall, Susan (2001) Using Pictures Storybooks to Teach Literary Devices Oryx Books Hersch, Rebecca (2009) Persepolis by Marjane Satrapi: A Review Suite 101 < http://graphic- novelists.suite101.com/article.cfm/persepolis_by_marjane_satrapi> Accessed May 11, 2010 Satrapi, Marjane (2004) Persepolis: The Story of a Childhood Pantheon Books Read More