Milton 1

Scott A. Milton
English XXX
Professor XXX
9 May 2011
The Prophte of Persepolis:
Satrapis Struggle as a Symbol of the East-West Culture Clash

[T]he fundamental source of conflict in this new world will not be

primarily ideological or primarily economic. The great divisions
among humankind and the dominating source of conflict will be cultural
(Huntington 22)
Persepolis brings East and West together, often in ways that
underscore the tensions and contradictions such unions inevitably entail.
(Naghibi 240)

Marjane Satrapis The Complete Persepolis, which contains the previously released
Persepolis and Persepolis 2 together in a single-bound volume, is a contemporary graphic novel
that depicts a young girls journey into adulthood and her struggle to overcome the repression of
Iranian society and the troubling effects of bigotry and racism she experiences abroad. The
existing corpus of criticism explores the hybrid nature of the text in terms of culture and genre;
the importance of the authors exilic liminality and female authorship; the interplay between
familiarity and otherness in the work; the traumatic effects of violence and exile on the
protagonist and her family; the texts role as a teaching aid; and the artistic techniques and

2011, 2013 Scott A. Milton - All Rights Reserved

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characteristics of the work. What these critics have failed to explore fully, however, is the texts
significance in the specific context of cultural globalization. The Complete Persepolis is
particularly relevant to the so-called Clash of Civilizations debate that has occupied much of
the political discourse in recent years. In fact, the story as a whole and the heroines struggle in
particular can be taken as a symbol of the East / West culture clasha representation of a larger
cultural and ideological struggle between the West and Islam that occurs largely because of
resistance to cultural globalization.
Such resistance is nothing new. As Laura Adams et al. point out in their essay
Resistance to Cultural Globalization A Comparative Analysis, from the earliest discussions
of contemporary globalization, there has been an almost simultaneous wave of resistance,
much of which has centered on the threat (or promise) of cultural globalization (Adams 80). In
many cases, such opposition is based on fears that foreign cultures will pollute or displace the
autochthonous cultures and traditions of a region or nation. Observation of such realities led
political scientist Samuel P. Huntington to propose in the 1990s that the principal source of
conflict in the new era would be mainly cultural in nature. One of the main fault lines in his
model lies between the Western world and the Islamic World (Huntington 25). Although the
Clash of Civilizations theory has been challenged and even dismissed by many experts, Chiara
Bottici and Benot Challand argue in The Myth of the Clash of Civilizations that Huntingtons
idea is a political myth that has managed to capture the popular imagination and become a selffulfilling prophecy (Bottici 2). In the decade since the September 11 terrorist attacks, the global
dynamic has shifted and much of the international focus now centers on a global war on terror. In
this charged era of tense international politics, many in the West believe that their civilization
und ways of life are under attack from an Islamic Other.

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The Complete Persepolis has an important role to play in this context because the
protagonist is from Iran, an Islamic country that has rejected the Western model of modernity
and which has been labeled in the West as being part of the so-called axis of evil (Abrahamian
192). Many of Satrapis readers may not realize that the Iranian Revolution depicted in her book
was part of a larger cultural and political movement called Islamism, which, as Peter R. Demant
notes in Islam vs. Islamism: The Dilemma of the Muslim World, has evolved over the last few
decades in reaction to globalizing modernization (Demant 94). Islamism as an ideology
represents in part a desire to escape foreign neocolonial influence and cultural domination. In
Regional Realities in the Arab World Ahman S. Moussalli notes that, [s]ince globalization
involves the dissemination of modern Western forms of life around the globe, it can be regarded
in some ways as the newest expression of Western hegemony (Moussalli 136). Thus, in Iran,
the rejection of Western culture that accompanied the revolution may be seen as an attempt to
cast off the yoke of foreign domination and cultural imperialism. The Complete Persepolis
illustrates aspects of the history of Western influence when, in The Bicycle, Marjanes father
explains how the English helped the Shahs father gain power to further their economic interests
in the region (Satrapi 19-21). Many Westerners do not know what their own governments are
doing or have done in other parts of the world and can easily come to believe that Muslims
grievances are simply the product of a religious fervor that sets them to destroy Western culture
and its way of life. Thus Persepolis serves an important didactic function by providing access to
a closed society largely misunderstood by outsiders and Westerners in particular; by educating
readers about Irans history; and by encouraging a broader, better-informed perspective of Iran,
Iranians, and Muslims.

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Although Satrapi doesnt specifically mention a Clash of Civilizations in The Complete
Persepolis, nonetheless, her heroines struggle can be seen as a symbol of such a culture clash. In
the first chapter of the book, The Veil, the young heroine Marjane is depicted in a split frame
that shows her half veiled and half modernized and thus split between religious traditions and the
modern and avant-garde (Satrapi 6). This depiction represents her dichotomous inner conflict
with regard to the Eastern / Western cultural divide. By the time she is a teenager, however, it
has become clear that Marjane has gravitated toward the side of Western culture and modernity.
She buys illegal cassette tapes of Western music, decorates her room with posters of rock and
heavy metal icons, and dresses in modern teenage fashions (Satrapi 131-132). She is nearly
arrested by the Guardians of the Revolution for wearing punk (basketball) sneakers and a
Michael Jackson button (Satrapi 133-134). If Jackson is seen as a symbol of Western decadence,
Marjane might equally be seen as a symbol of resistance to Islamism, Fundamentalism, and the
imposition of Islamic cultural restrictions.
She favors Westernization, which puts her at odds with the fundamentalist Iranian social
order. She defies her countrys laws and social norms by drinking alcohol, wearing lipstick, and
arguing against the necessity of wearing the veil (Satrapi 311, 285, 284). Marjanes story is a
powerful argument for social change, individual rights, and democracy in Iran. She wants greater
personal and artistic liberties as well as the freedom to choose how to dress in public. Her
outspokenness lands her in trouble (Satrapi 298) and she is arrested twice on account of her
unrelenting taste for pleasure (Satrapi 306, 310). These examples suggest that Marjanes
rejection of traditional Muslim culture in favor of modern and Western lifestyle choices cannot
simply be attributed to a passing phase of teenage rebellion. She continues to struggle against
what she sees as a repressive regime throughout the text, and thus demonstrates the internal

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cultural struggle that goes on in the Muslim world between secular moderates and traditional
fundamentalistsor in the words of Emad El-Din Aysha, between the powers of progress and
regress (Aysha 379).
Marjanes experiences in exile symbolize another important aspect of the East / West
culture clashthe struggle that Muslims and people of Middle Eastern ancestry face in the West.
As the story demonstrates, Europeans are willing to accept Easterners and Iranians, but there is
still a lot of apprehension and misapprehension. Marjane is not even culturally distinct. On the
contrary, she is acculturated and westernized, yet she still encounters racism, bigotry, and
negative stereotypes. For instance, the nun who scolds Marjane for eating directly out of a pot
declares openly, Its true what they say about Iranians. They have no education (Satrapi 177).
Her statement suggests that Europeans have negative stereotypes about Iranians. Some might
believe that Iranian women do not have access to an education because Iran is a Muslim country.
Of course, nothing could be farther from the truth since Iranian girls have access to schools and
universities, which she attends before leaving for Austria and after her return (Satrapi 143, 292).
In addition, Marjane explains how other Europeans have mistreated her, calling her a dirty
foreigner[,] and accusing her of taking advantage of Markus and his situation to obtain an
Austrian passport (Satrapi 220-221).
It is exactly this type of bigotry and xenophobia that Satrapi combats with her story. She
shows Westerners the hardships that she and other Iranians go through so perhaps readers will
them more humanely. When Marjane lies to a young man at a party by claiming she is French,
she explains that at the time, Iran was the epitome of evil and to be Iranian was a heavy burden
to bear. It was easier to lie than to assume that burden (Satrapi 195). Evidently, there were many
negative feelings or attitudes regarding her nationality or ethnicity. Of course, these may have

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had more to do with the political actions of the Iranian regime than with Islam or its cultural
characteristics in particular. Nonetheless, Islamophobia is a real phenomenon, one which
Gabriele Marranci defines as, a phobia of multiculturalism and the transruptive effect that
Islam can have in Europe and the West through transcultural processes (Marranci 115-116). In
other words, there is fear that Muslims might change the character of Western culture. As a
consequence, foreigners, and especially people with a Middle Eastern appearance, can find
themselves subjected to discriminatory practices and cruel treatment in Western societies.
Marjanes struggle thus symbolizes a larger trend that many Muslims and people of MiddleEastern ancestry go through in the West. Although they may be welcome in Europe, they are
relegated to a subordinate status. Their culture is rejected by the larger society, and they are in
many ways excluded from integration. To illustrate, while Middle Easterners are expected to
acculturate and conform to Western social norms, even when they do fully westernize in
appearance, there are still some Europeans who continue to despise and mistreat them just
because of their association with Muslim countries and practices. Satrapis text speaks out
against such injustice.
Since the story follows the heroines experiences both inside Iran and in Europe, it
encapsulates two different cultural worlds and thus occupies a central place in the Clash of
Civilizations debate. Naghibi and OMalley contend that Satrapis text offers a significant
intervention in this highly polarized era of East/West relations (Naghibi 224). It is an important
vehicle for social criticism with a didactic function that aims to bridge a major gap in cultural
understanding. Furthermore, it advances womens rights and human rights in the Islamic world;
attacks repression and intolerance; takes a stand against extremism and fanaticism; facilitates
intercultural understanding and builds cross-cultural bridges; humanizes a society that has so

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often been demonized by the Western media; fights racism and racial stereotypes; helps to
reduce Islamophobia and xenophobia in the West; criticizes the senselessness of warfare; and
brings attention to significant issues likely to affect the future of humanity in the 21st century and
beyond. These characteristics make The Complete Persepolis exceedingly powerful in a global
context.
And Satrapis story becomes all the more relevant in light of recent developments in the
Middle East. With the riotous street protests and calls for democratic reform that took place in
Iran in 2009, the wave of revolutions sweeping the Middle East in 2011, and the recent killing of
Osama Bin Laden, the future of the region seems far from certain. Will the world see a host of
new Islamic states emerge or will the westernized model prevail? Huntington, in his 2007
interview The Clash of Civilizations Revisited[,] suggests, Weve seen at least the beginnings
of rather significant social and economic change in the Muslim world, which I think will in due
course lead to more political change. [...] Countries like Iran are beginning to develop an
industrial component. He adds, I think they are certainly moving toward urbanization and
much more pluralistic political systems. In almost every Muslim country, that is occurring
(The Clash 54-55). Nonetheless, according to the Economist Intelligence Units Democracy
Index 2010, a report that measures the state of democracy worldwide, Irans global rank
declined by 13 places to 158th [out of 167 states and territories] between 2008 and 2010 as the
regime tightened its control further and saw increases in corruption and cronyism (Democracy
26-27). Hence, Iran continues to be one of the most closed societies on the planet. But despite
any uncertainties regarding the political future of the Satrapis homeland, it seems reasonably
clear that her remarkable memoir The Complete Persepolis will continue to reign as a
masterpiece for the foreseeable future.

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Works Cited
Abrahamian, Ervand. A History of Modern Iran. Cambridge: Cambridge University Press, 2008.
Print.
Adams, Laura, Miguel Centeno, and Charles Varner. Resistance to Cultural Globalization A
Comparative Analysis. Conflicts and Tensions. Ed. Helmut K. Anheier and Yudhishthir
Raj Irar. Los Angeles: SAGE, 2007. Print.
Aysha, Emad El-Din. Foucaults Iran and Islamic Identity Politics Beyond Civilizational
Clashes, External and Internal. International Studies Perspectives 7.4 (2006): 377-394.
EBSCOhost. Web. 23 April 2011.
Bottici, Chiara and Benot Challand. The Myth of the Clash of Civilizations. London: Routledge,
2010. Print.
Demant, Peter R. Islam vs. Islamism: The Dilemma of the Muslim World. Westport, Connecticut:
Praeger, 2006. Print.
Democracy Index 2010: Democracy in Retreat. Economist Intelligence Unit: 1-46. Web.
28 April 2011.
Huntington, Samuel P. The Clash of Civilizations? Foreign Affairs 72.3 (1993): 22-49. Web.
28 April 2011.
Marranci, Gabriele. Multiculturalism, Islam and the Clash of Civilisations Theory: Rethinking
Islamophobia. Culture and Religion 5.1 (2004): 105-117. Informaworld. Web.
23 April 2011.
Moussalli, Ahmad S. Regional Realities in the Arab World. Conflicts and Tensions. Ed.
Helmut K. Anheier and Yudhishthir Raj Irar. Los Angeles: SAGE, 2007. Print.

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Naghibi, Nima, and Andrew OMalley. Estranging the Familiar: East and West in Satrapis
Persepolis. English Studies in Canada 31.2-3 (June / September 2005): 223-247. Project
Muse. Web. 23 April 2011.
Satrapi, Marjane. The Complete Persepolis. Trans. LAssociation and Anjali Singh. New York:
Pantheon, 2003, 2004. Print.
The Clash of Civilizations Revisited. Samuel P. Huntington. New Perspectives Quarterly 24.1
(2007): 53-59. LexisNexis. Web. 23 April 2011.

2011, 2013 Scott A. Milton - All Rights Reserved