Sometimes the past is too strong for words. It won't lie quietly under the bonds of syntax and grammar. Marjane Satrapi's childhood in revolutionary Iran—a childhood hijacked by religious fundamentalism, that witnessed the imposition of the veil, that saw the legal age of marriage for girls lowered to nine—is almost too full of trauma to be confined to a prose narrative. Satrapi powerfully captures the Ayatollahs' tyranny by rendering it in the spare, black- and-white images of a graphic novel, much as Art Spiegelman did in Maus
, his comic-strip version of the Holocaust.
Persepolis conveys both...
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