This self-conscious narration is an effective tool because it makes Satrapi's protagonist seem all the more real. While Marji's simplified appearance allows the reader to better place himself into the story according to McCloud, having this character speak directly to the audience makes her appear not like a passive element in a story the reader is watching unfold, but like an active and very much living person in a story that the reader is invited to interact with as well. This narration style is particularly useful in a story like Persepolis because it forces the reader to identify with the protagonist even if she is not someone whose life characteristics are similar to that of the reader.
Sunday, October 30, 2011
Self-Conscious Narration and Persepolis
The idea of self-conscious narrators in Booth's article seems particularly interesting to me as it applies to Satrapi's Persepolis. Booth states that self-conscious narrators are "aware of themselves as writers" as opposed to those narrators "who seem unaware that they are writing, thinking, speaking, or 'reflecting' a literary work" (155). It seems to me that Marji is a generally self-conscious narrator. There are several instances in the text when she turns directly to the audience and speaks not to somebody within the frame, but (presumably) to her readers outside of the frame.