1. What news stories or photographs or political figures have shaped your impressions of Iran as a nation and/or of Iranian citizens?
2. How has your reading of Persepolis influenced these impressions?
3. How is revolution portrayed in the book?  In Satrapi’s account, what are the stages of the revolution and what do these stages mean for the Iranian people?
4. How are America and American culture represented in the book?
5. What information about the rise and fall of the Shah of Iran and the role of the US in this process do you need in order to make sense of the story that Satrapi tells?
6. How are the Islamic fundamentalists represented in the book?  What suggestions does Satrapi make about the relationship between faith and fanaticism?
7. Upon her return from Austria, Marjane’s father gives a grim and cynical account of the war between Iran and Iraq. What sources might provide information to help you further understand the relationship between these two countries?
8. Towards the end of the book, Marjane says about people’s fear of the Islamic Commission, “It’s only natural!  When we’re afraid, we lose all sense of analysis and reflection.  Our fear paralyzes us.  Besides, fear has always been the driving force behind all dictators’ repression” (302).  How do Marjane and her compatriots deal with fear in their daily lives?  To what extent do you see fear as a controlling factor in your own country’s public life?
9. Marjane’s mother complains that the media in Iran lie to Iranians while the Western media lie about them (322), and yet just a couple of pages later everyone gets very excited at the clandestine arrival of satellite TV (324).  What value does Satrapi place on Western media?
10. What hope of resolution of the conflict between the people and their repressive government does Persepolis offer?
11. Does reading this book make you think differently about the US’s relations with either Iran or Iraq?  Why or why not?
12. In the introduction to her book, Satrapi says that she wrote Persepolis in part so “that an entire nation should not be judged by the wrongdoings of a few extremists” (2).  How does Satrapi herself seem to judge Iran as a nation by the end of her narrative?

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1. What does the book suggest about the role of religion in Iranian culture, especially in the lives of people like Marjane’s family?
2. What does the book suggest about social class in Iranian society, especially, for example, in the story of the courtship between the family’s maid and their neighbor (34-37) or the distribution of keys to paradise to boys drafted into the army (99-102)?
3. What role does the educational system play in post-revolutionary Iran?
4. According to Satrapi, what are some of the consequences on Iranian society of long years of warfare and violence?  
5. What are the roles for women in Iranian society as depicted in the book?  How do Marjane and her mother and grandmother both play into and resist those roles?
6. How important is family in Iranian society, according to Satrapi?
7. What are some of the key differences between the culture in which Marjane was raised and the Western culture into which she tries to assimilate after she moves to Austria (118)?
8. In the last pages of Persepolis, Marjane’s father tells her, “We Iranians, we’re crushed not only by the government but by the weight of our traditions!” (339). Why do Marjane’s parents and grandmother choose to stay in this repressive society when leaving does not seem that difficult?
9. Describing the parties that she and her friends hold at their houses despite the surveillance of the Islamic Guards, Marjane says that the disparity between their lives in public and their lives in private made them schizophrenic (305).  What toll does this kind of division take on them?  What sources might indicate the extent to which this division still characterizes Iranian society? 
10. Early in the narrative, Marjane’s mother quotes her own father’s saying: “When a big wave comes, lower your head and let it pass” (94).  To what extent does what Satrapi calls this Persian philosophy of resignation explain secular citizens’ acceptance of Islamic rule?     

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1. What difference does it make to your reading that this book is a memoir, a rendering of Marjane Satrapi’s own life, rather than a fictional story about life in Iran?
2. American writer William Zinsser has written that “humor is the writer’s armor against the hard emotions.”  Is this the way that Satrapi seems to be using humor when she says that “every situation offered an opportunity for laughs” (97) and again that laughter is “the only way to bear the unbearable” (266)?  What instances of humor stand out to you? Why?
3. In Persepolis Satrapi tells many people’s stories besides her own--her mother’s memories of visiting her own father in prison, Anoosh’s story of his Uncle Fereydoon, and others.  How are these stories related to her own?  What value does Satrapi attribute to storytelling?
4. How are the personal stories of individual citizens related to the history of their nation?
5. Who are the heroes of Satrapi’s story? And what makes them heroic?  How do Marjane’s ideas about heroism change in the course of her narrative?
6. What uses of irony does Satrapi make in Persepolis?
7. Why does Satrapi call her book Persepolis instead of something like Growing Up in Iran?

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1. How would you describe the child Marji to whom we’re introduced at the beginning of Persepolis?  To what extent is she like children anywhere? To what extent is she different from the child that you were or the children that you grew up with?
2. What do you make of Marji’s career decision to become a prophet? Why aren’t her parents worried about it?
3. At what moments in the story do you most sympathize with Marji? When least?
4. What stages do you recognize in Marji’s attempts to understand justice and forgiveness?
5. What strategies do the children in this story employ to make sense of the political realities of the world around them?
6. How seriously are we to take the character of God in the narrative, both in his visits to the child Marji (13 ff) and in his later appearance as the recipient of Marjane’s mother’s registered letters (226)?
7. With her first stolen cigarette, Marjane kisses her childhood goodbye and declares herself an adult (117).  To what extent has she actually left childhood behind?
8. What forms does teenage rebellion take among Marjane and her friends?  To what extent are they like teenagers everywhere? How are they different?
9. At the end of Part 1 of Persepolis, Marjane’s parents send her to Austria.  What are the conditions that make staying in Iran dangerous for her?  Why don’t her parents go with her?
10. Do you approve of Marjane’s parents decision to send her out of the country on her own at age fourteen (148 ff)?  Can you imagine your parents doing the same?
11. What does being Iranian mean to Marjane as she adjusts to life as an exile in Austria?
12. Why does Marjane find it impossible to live in the society she finds herself surrounded by in Austria?
13. What are the stages in Marjane’s downward spiral that ends with her living on the streets? To what extent does she take responsibility for her failings? What changes has she gone through that lead her to embrace the veil and to return to Iran?
14. Iranian in the West and Western in Iran, Marjane says that she is “nothing” (272).  How does she resolve her identity crisis?
15. What role does her grandmother play in Marjane’s journey to maturity?
16. Marjane’s relationship to the veil is long and complicated.  What, finally, does wearing the veil come to mean to her?
17. Several times in Satrapi’s narrative, Marjane seems to hit bottom and decides to remake herself.  How are these various new selves related to each other?
18. Why do Marjane’s parents make such an elaborate display of their daughter’s wedding when her mother has always wanted Marjane to be an independent woman and her father expects the marriage to end in divorce?
19. What does Marjane take with her as she leaves Iran for the final time (340)?  What signs are there that there is actually anything to love about the Iran depicted in this book?
20. What price is Marjane finally willing to pay for freedom?  What indications are there that this last departure will be more successful than the previous one?

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21. Why do you think Satrapi chose to tell her story in words and images?  What does the combination make possible that words or images alone would not?
22. How would you describe the style of Satrapi’s drawings?  How does this style contribute to the story that she tells?
23. Satrapi’s drawings are in stark black and white, but how black and white is the world that her drawings depict?  To what extent does Satrapi manage to convey complex experience in such simple, even childlike, drawings?
24. How does Satrapi use drawings specifically to develop characters, to portray the differences and/or connections between the inner and outer worlds of characters, or to make thematic connections?  For example, what are some of the implications of the echoes between the two drawings on page 102 of the text?
25. What particular incidents in the story do you think are conveyed more effectively in pictures than they could have been in words alone?
26. When Marjane’s Uncle Anoosh is surprised that she knows about dialectical materialism, she tells him that she “read the comic book version” (59). What are we to make of this joke about the medium that Satrapi has chosen for her book?
27. What do you consider the main strengths of using images to tell this story?  What are the main limitations of doing so?
28. What traditional novels that you’ve read do you think might be better in this graphic format?  Why?  

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