Persepolis Unit Plan
Main Text: Persepolis: The Story of a Childhood by Marjane Satrapi (Pantheon 2003)
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Plot Summary & Organizational Patterns
Wise, funny, and heartbreaking, Persepolis is Marjane Satrapi’s memoir of growing up in Iran during the
Islamic Revolution. In powerful black-and-white comic strip images, Satrapi tells the story of her life in Tehran
from ages six to fourteen, years that saw the overthrow of the Shah’s regime, the triumph of the Islamic
Revolution, and the devastating effects of war with Iraq. The intelligent and outspoken only child of committed
Marxists and the great-granddaughter of one of Iran’s last emperors, Marjane bears witness to a childhood
uniquely entwined with the history of her country.
Persepolis paints an unforgettable portrait of daily life in Iran and of the bewildering contradictions
between home life and public life. Marjane’s child’s-eye view of dethroned emperors, state-sanctioned
whippings, and heroes of the revolution allows us to learn as she does the history of this fascinating country and
of her own extraordinary family. Intensely personal, profoundly political, and wholly original, Persepolis is at
once a story of growing up and a reminder of the human cost of war and political repression. It shows how we
carry on, with laughter and tears, in the face of absurdity.
In order to read this book, students will need to be introduced to the genre of graphic novels and the
associated vocabulary and structure. This will help them to fully comprehend Satrapi’s story. The teacher will
need to explicitly teach students how to interpret both the images and text in tandem.
The chapters in this graphic novel are very short (about 2-5 pages) and each one deals with a specific
story from Satrapi’s childhood years. The overarching story of the novel is made possible by weaving each of
these individual stories together. It would be helpful for students to consider the organization of these stories
and how they link together to create meaning.
This unit is designed for a ninth grade honors English course. It could also be used for a tenth grade
English class as the activities and common core standards are still relevant and applicable. Many teachers have
had success with this novel in both a middle school and high school setting as its story has implications for
people of all ages.
(Plot summary courtesy of Pantheon)
The Big Question or Enduring Issue
One of many enduring questions that this graphic novel brings up is: “What does it mean to be free and how far
would you go to protect your freedom?” Marjane Satrapi does a wonderful job of exploring how different
people with varying perspectives see the concept of freedom and its importance in their lives. Against the
backdrop of the Iranian Revolution we see Satrapi, her family, and their friends and acquaintances struggle to
understand what it really means to be free. Each person in the novel sees things differently and we, as readers,
become witnesses to Satrapi’s struggle to protect her own freedom amidst the chaos of differing opinions. The
grown Satrapi, who both wrote and illustrated the novel, is careful to stay true to the feelings of her childhood
self. This makes Satrapi’s struggle much more visceral and moving as we follow her through the anguish of a
country and a family torn apart by the struggle for freedom.
Background Knowledge
In order to truly appreciate the complexity of Satrapi’s struggle, students will need to gain a lot of
background knowledge that they can refer to when reading the graphic novel. First, students will need some
background knowledge on the Muslim faith and culture. This will help them to understand the way that religion
and politics are one and the same in the Iran of Satrapi’s childhood. In addition, it will help them to understand
how Islamic culture and traditions have changed throughout its history. Front loading the novel with at least one
or two lessons on Iranian history and the history of the Muslim faith will really help students connect with the
novel. Even if they are not Muslim, every student believes in something (religious or not) and so they can use
that as a basis for understanding the importance of following your belief.
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Students will also need some background on Marjane Satrapi’s life. This will help them to contextualize
the story of her childhood. It will also allow them to consider why she decided to write the memoir now and its
implications for the chaos in the Middle East now. I would also suggest that students look for news articles,
photo essays and other media items that deal with Iran as it is now. Doing so will help students to understand
how the events of Satrapi’s graphic novel relate to the here and now. This will make the novel more relevant to
them and it is a great lesson in how history is a living organism that is constantly growing and unfolding.
Students will be able to see how what happens in Satrapi’s graphic memoir set the stage for what is happening
in Iran now.
In order to truly comprehend and enjoy the book, students will need some prior knowledge of graphic
novels including their structure, how to read both an image and a text, as well as vocabulary that they can use to
talk about the book properly. This will help them to understand the interplay of text and image. In addition, they
will be better prepared to read within the graphic novel genre in the future.
Issues related to this Study of Literature
Themes:
∂ Freedom – As mentioned before one of the main themes in the novel is the struggle to define and
fight for freedom. Throughout the book we see Satrapi and her family and friends lose more and
more of their freedom as the Shah’s regime becomes more extremist. For example, at the
beginning of the book Satrapi notes, “we found ourselves veiled and separated from our friends”
(4). Later in the book we see how members of the Satrapi family and their friends are
imprisoned, tortured and even killed for fighting for their freedom. For example, Satrapi
describes what happened to Ahmad, a family friend: “They Burned him with an iron… in the end
he was cut to pieces” (51-52). Meanwhile, others fall in line and do what they are supposed to
do, even if they do not believe in it. Often we see these people turned into eyes for the regime so
that no place become safe and people are always afraid of being caught for acting too freely.
Satrapi writes, “To have the Iraqis attack, and to lose in an instant, everything you had built over
a lifetime, that’s one thing… but to be spat upon by your own kind, it is intolerable” (93)!
∂ Living with Violence – As the graphic novel progresses, we see Iran tumble into an everdeepening pit of violence. At first we hear a few notes about revolutionaries being threatened or
imprisoned. After being photographed at a demonstration, Satrapi’s mother dyes her hair because
she fears she will be caught and punished (5). The violence becomes more extreme as the novel
goes one, and towards the end of the novel we see that violence starts to come from all
directions. Satrapi writes, “After Abadan, every border town was targeted by bombers. Most of
the people living in those areas had to flee northward, far from the Iraqi missiles (89). This is an
important theme in the novel because the fear of death or injury really changes the way that
many people respond to the oppression of the Shah’s regime. They would rather live in shackles
than be free, but dead or severely tortured. This is an important topic for students to explore as
they start to consider how far they are willing to go to protect the freedom that they enjoy.
∂ Family – The institution of family is one of the most important institutions in Persepolis: The
Story of a Childhood. Marjane watches her parents as they fight against the regime and this plays
a huge part in the formation of her own political beliefs. Her parents offer her guidance in a
complex web of personal, political and religious motivations. At the beginning of the story,
Marjane Satrapi writes, “I really didn’t know what to think…deep down I was very religious but
as a family were were very modern and avant-garde” (6). This confusion is eliminated as
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∂
Marjane Satrapi grows older and begins to understand the world as her parents do. She writes,
“After the death of Neda Bab-Levy, my life took a new turn. In 1984, I was fourteen and a rebel.
Nothing scared me anymore” (143). In the last few pages of the novel, Satrapi leaves Iran for
Vienna. In order to ensure her safety, she has to leave her parents behind. Recalling the moment
she was separated from her parents in the airport, she writes, “Nothing’s worse than saying
goodbye. It’s a little like dying” (153). This is a very important theme for students to consider
because it is applicable to everyone. We all know what it is like to have a family and how
important they are in the formation of our own beliefs and worldview. As students see Marjane
Satrapi move through this process students should be able to relate it to their own lives, thus
allowing them to connect with the events of the book.
Forgiveness – In the introduction to her graphic memoir, Satrapi writes, “One should forgive, but
never forget” (2). Throughout the story, Satrapi details many different instances where
individuals (including herself) are wronged either by the government or by other characters in
the novel. Although forgiveness is not explicitly talked about in the book, it is important because
it plays a role in the Satrapi’s purpose for creating the graphic novel. Students should consider
that perhaps she wrote the book as a way of forgiving what has happened to her and those she
loves, while also making a record of those same things. In addition, this theme is something that
we all struggle with. Should we forgive those who hurt us? Satrapi’s memoir is a powerful
example of someone who could seek revenge, but instead chooses the path of forgiveness
instead.
Setting:
The major setting in this book is Iran. Students will need to know some history of Iran and it would be
helpful for them to see pictures of the country and its people. This will help because it will help them
contextualize the images and events of the novel. In addition, students should consider what implications the
setting has for the story because the graphic novel is not just about Satrapi’s childhood, but it is also about the
history of Iran. The setting also ties into Satrapi’s motives for creating the graphic novel. As she notes in the
introduction, “This old and great civilaztion has been discussed mostly in connection with fundamentalism,
fanaticism, and terrorism. As an Iranian who has lived more than half of my life in Iran, I know that his image is
far from the truth. This is why writing Persepolis is so important to me. I believe that an entire nation should
not be judged by the wrongdoings of a few extremists. I also don’t want those Iranians who lost their lives in
prisons defending freedom, who died in the war against Iraq, who suffered under various repressive regimes, or
who were forced to leave their families and flee their homeland to be forgotten.”
Point of View/Narrative Voice:
The narrative voice in the novel is Marjane Satrapi’s childhood self. The story is told from her
perspective as she grows older. Occasionally, she will add retrospective notes to further explain or embellish her
feelings, but for the most part the perspective follows Marjane from her childhood into her teenage years. This
novel meets one of the common core requirements for ninth to tenth grade concerning point of view because it
offers a cultural perspective from outside the United States (see common core standard RL.6
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Characterization:
∂ Marji (main character): Marji is a strong girl, who follows in her parents' foot steps. Even
though Marji 's view of the world changes as she grows, from a small little girl to a full grown
woman, her feelings on life remain the same and has always been a fighter. She strongly believes
in fighting for what you believe in. Sometimes her actions seem rebellious, and they get her into
trouble, but this doesn't change her feelings or ambitions.
∂ Mrs. Satrapi or Taji (Marji 's mother): Taji is a passionate woman, who is upset with the way
things are going in Iran, including the elimination of personal freedoms, and violent attacks on
innocent people. She actively takes part in her local government by attending many protests.
∂ Mr. Satrapi or Ebi (Marji 's father): He also takes part in many political protests with Taji. He
takes photographs of riots, which was illegal and very dangerous, if you got caught.
∂ Marji 's Grandmother: Marji 's Grandmother develops a close relationship with Marji . She helps
comfort Marjane when her father doesn't return from a riot. She enjoys telling Marji stories of
her past, and Marjane's Grandfather.
∂ Uncle Anoosh: He is a hero in Marjane's eyes. He went to the U.S.S.R. to get married; later he
got a divorce. He was imprisoned for nine years after an attempt to re-enter Iran. Anoosh is seen
as a hero in Marjane's eyes and develops a close relationship with her right before he is executed.
∂ Julie: A friend of Marjane who takes her in when she is kicked out of the Catholic boarding
facility in Vienna. Unlike the main character, Marjane, Julie is very open about her sexual
encounters and experiences. Julie represents Western society, carrying with her every aspect of
it.
∂ Kia: One of Marjane's childhood friends who eventually left for America.
∂ Siamak and Mohsen: Two friends of Marjane's family who are freed political prisoners. Both
were beaten and tortured in prison. They are known as heroes.
∂ Mehridia: The maid of Marjane's house. She became friends with Marjane during her childhood.
She had a secret relationship with the neighbor boy. She was illiterate, so she had Marjane write
love letters to the neighbor boy for her.
∂ Mali: Marji's mother's childhood friend who's family got bombed. They ended up staying with
the Satrapis for a week.
(taken from Wikipedia, http://en.wikipedia.org/wiki/Persepolis_%28comics%29#Character_list)
Genre:
This book would be great for studying different types of genres and how they are structured, their
purpose, etc. As a graphic memoir, this book tells not only a unique story but it is also a unique genre that many
students may not have encountered. Using this book as a basis to explore the purpose and structure of the
graphic novel genre would be a useful task for students as doing so will help them to think more critically about
all genres and how each one works differently. Also, as the genre of graphic novels becomes more popular,
especially in young adult literature, teachers have a chance to explicitly teach students how to approach graphic
novels. These skills can then be applied to any new genre that students may come across.
Affective Issues Related to the Work
On the surface, it may seem like this graphic novel won’t be relatable to students in the United States.
However, Satrapi’s journey from childhood into her teenage years is a transition that we all make and thus it is
applicable to everyone. Also, we can all identify with Satrapi’s struggle to find peace in a world that is often
cruel and violent. In an interview about Persepolis, Satrapi stated, “The world is not divided between East and
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West. You are American, I am Iranian, we don’t know each other, but we talk and we understand each other
perfectly. The difference between you and your government is much bigger than the difference between you
and me. And the difference between me and my government is much bigger than the difference between me and
you. And our government are very much the same.” Throughout instruction, teachers should help student focus
on the broader themes of the novel (mentioned above) in order to help students connect more personally with
Satrapi’s story.
Vocabulary Issues
In order to understand this novel, students will need some background on cultural vocabulary. They will
need to know things like what a “veil” is and who a “Shah” is. They will also benefit from learning some
graphic novel vocabulary, such as “frame”, “gutter”, etc.
I would also suggest using the list of more difficult vocabulary words that professors at Kent State
University have accumulated (see below):
∂ Decadence (Pages 4, 133)‐ The act or process of falling into an inferior condition or state;
deterioration; decay
∂ Decadent (Pages 73)‐ Characterized by or appealing to self‐indulgence
∂ Avant‐garde (Page 6)‐Any creative group active in the innovation and application of new
concepts and techniques in a given field (especially in the arts)
∂ Dialectic(al) Materialism (Pages 12, 53, 59)‐ The Marxian interpretation of reality that views
matter as the sole subject of change and all change as the product of a constant conflict between
opposites arising from the internal contradictions inherent in all events, ideas, and movements
∂ Frivolities (Page 28)‐ Frivolous acts or things (frivolous- characterized by lack of seriousness or
sense)
∂ Clandestine (Page 33)‐ Marked by, held in, or conducted with secrecy
∂ Diabolical (Page 53)‐ Of, relating to, or characteristic of the devil
∂ Proletariat (Pages 62, 69)‐ The class of wage earners, esp. those who earn their living by manual
labor or who are dependent for support on daily or casual employment; the working class
∂ Chador (Page 75)‐ A large cloth worn as a combination head covering, veil, and shawl usually by
Muslim women especially in Iran
∂ Pretext (Pages 79, 302)‐ A purpose or motive alleged or an appearance assumed in order to cloak
the real intention or state of affairs
∂ Coup d’etat (Page 82)‐ A sudden decisive exercise of force in politics; especially : the violent
overthrow or alteration of an existing government by a small group
∂ Flagellate (Page 96)‐ To whip; scourge; flog; lash
∂ Secular (Page 96)‐ Not pertaining to or connected with religion
∂ Belligerent (Page 115)‐ Inclined to or exhibiting assertiveness, hostility, or combativeness
∂ Espadrilles (Page 138)‐ Sandal usually having a fabric upper and a flexible sole
Implications for Students of Diversity
One major implication of this novel is that it has a religious context. Teachers need to be aware of this
and help students approach it in an academic, analytical manner. Students who may have differing beliefs might
reject the book merely because it is written by a Muslim or details some Muslim traditions, however, this book
is not about religious mandates or preaching, it is a memoir. Helping students to see this as a memoir and not as
a representation of all Muslims or the Muslim faith, will help to avoid any alienation that students may feel.
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Also, it will be crucial if a teacher has Muslim students to point out that this is one woman’s experiences and
that not every Muslim feels or thinks the way that she does.
This novel is great for students who struggle with reading or even English Language Learners because
they can rely on the images to enhance their comprehension. Also, it is not a very long book and so it allows for
a lot of rereading which allows students to dissect each sentence and image. Also, it gives them a gateway into a
whole genre of books that they might really enjoy.
Gender Issues
This book does deal with gender issues in Iranian society, particularly when Satrapi talks about how
women were forced to wear the veil and then all the girls had to be sent to a separate school than the boys. On
page 4, Satrapi writes, “we found ourselves veiled and separated from all our friends.” It would be good for
students to note the different treatment of men and women in Iran and then explore why those laws are in place.
Some of this is explored in Persepolis, but it would benefit students to do some other background reading as
well.
Another gender issue in this memoir can be seen towards the end of the book when Marjane Satrapi
explains how she learned that boys her own age were being recruited to the Iranian military. The Satrapi’s maid,
Mrs. Nasrine comes to their house one day and tells them, “They gave this key to my son at school. They told
the boys that if they went to war and were lucky enough to die, this key would get them into heaven” (99). This
deals with gender because only the boys were recruited to the Iranian military and a major ploy was to make
them believe that if they died fighting for their country and for Islam, that they would be rewarded with
paradise. Students could consider the issues of having a dual-gender military and the tactics that governments
use to recruit people into their military.
Research Issues/Project Ideas
∂ News Article/Report or Class Newspaper – Because the graphic memoir is linked to modern news and
politics, students could research what is happening in Iran now and create a news report or a news article
based on their research. They could even pretend they are reporting an event from the book, or even just
an event in Iranian history. This would give students another reason (besides solely gaining background
knowledge) to look at the events of the novel in comparison to today’s Iran. For their final project, each
class could create a newspaper with articles they have written about news events, cultural topics, and
even advertisements for products that would likely be sold in Iran. To complete this project, students
could even look at Iranian newspapers (or images of them online) and style their newspaper accordingly.
With a translation tool, the teacher or student could translate their articles into Farsi (the official
language of Iran). Then they could produce both an English and Farsi version of their newspaper. If you
had students create a newscast, they could watch some examples of Iranian news stations and use those
as models too.
∂ Photo essays – The genre of the graphic novel provides a great opportunity for students to demonstrate
their understanding of visual interpretation and analysis. Having students write an essay based on the
essential question (or even a self-generated question that deals with a major theme in the novel) is a
project that could be further enhanced by asking students to pair their written text and images together in
a photo essay. I would suggest giving students many models of photo essays and explaining the
connection that they have to graphic novels. In addition, you could find model photo essays that deal
with other aspects of the novel that you want to cover, thus doubling up your instruction.
∂
Writing a Graphic Memoir – Students could create their own graphic narratives/memoirs and use
Satrapi’s as a model text. Although not every student is an artist, students could work in groups or they
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could use images or graphic that they find on the internet. This assignment would also be a great way for
students to show what they have learned about the interplay of image and text. It would utilize both
visual and textual literacy.
Text Sets and Enrichment Resources
Other Novels or Non-Fiction Books:
∂ Farenheit 451 by Ray Bradbury – This would be a great book to hook with Satrapi’s memoir because
they both deal with government encroaching on personal freedom.
∂ Reading Lolita in Tehran by Azar Nafisi - Another great memoir from an Iranian woman, this is a
longer memoir that would further enhance student’s understanding of the impact of the Iranian
revolution on the personal lives of Iranians.
∂ Things I Have Been Silent About by Azar Nafisi – This is another memoir from the same author of
Reading Lolita in Tehran, but this one focuses more on her childhood and her family. Paired with
Satrapi’s memoir these two books would give students a good understanding of Iranian culture and
history.
∂ 1984 by George Orwell – This is another book about loss of freedom and encroaching governments that
would be a great match to Satrapi’s memoir.
∂ Persepolis 2: The Story of a Return by Marjane Satrapi – This is the second part of Satrapi’s memoir.
You can also find both books in The Complete Persepolis.
∂ Zeitoun by Dave Eggers – This non-fiction book tells the story of one Muslim man’s experience in
Hurricane Katrina. Although it is not about the Muslim faith per say, it does deal with the treatment of
Muslims in America and the impact of September 11th on their lives.
Interviews with the Author:
∂ “A Life in Graphic Detail” by Vanessa E. Jones, published in the Boston Globe on October 4, 2004
– This interview would be really good for students to read before reading Persepolis because it will
help them to understand who Marjane Satrapi is and give her memoir some context. Also, it has a lot
of quotes from Satrapi that could be used as a source of discussion before delving into the novel (a
great way to prepare students to think about the themes of the novel).
∂ “The Last Prophet” by Sarah Tan, published by Pop Matters in November 2003 – This short article
provides some contextualization of the novel as well as some analysis of some of the most important
quotations in Persepolis.
∂ “An Interview with Marjane Satrapi”, published by Bookslut – This interview is quite lengthy, but it
gives a lot of background on Satrapi’s political and social beliefs which would help students to better
understand the author’s perspective.
Picture Books that Deal with Muslims:
∂ Muhammad by Demi – Although this books paints the story of a religious figure, it would really help
students to understand the roots of the Islamic faith.
∂ My Name Is Bilal by Asma Mobin-Uddin – This picture book is about a young boy and girl who are the
only Muslims in their new school. Paired with Persepolis, this book would be a great starting point for a
discussion about how we treat people who have different religious beliefs.
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Movies:
∂ Persepolis: The Movie – This is the film version of The Complete Persepolis. Teachers may want to
show clips of this film or even show the entire thing so that students can see what happens to Satrapi
after this first book. Also, it is an interesting example of how a graphic novel can be adapted into a film.
∂ Paradise Now – This film follows too young Palestinian men, Said and Khaled, who are recruited by an
extremist group to take part in a suicide attack in Tel-Aviv. I recommend getting an edited version of
this film as it is rated PG-13. There is not a lot of violence in the film, and you do not see the terrorist
attack actually occur. However, it does explore the complexities of modern warfare and it helps viewers
to better understand why a person would choose to commit such a blatant act of violence. It also gives
some clarification about the male roles of young men in extremist sects of the Islamic faith.
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