In Persepolis, the Iranian Revolution led to significant societal changes, where religious extremism forced citizens to conform to a completely different cultural identity. Marjane struggles with her own identity as she navigates between Iranian and Western influences, in the chapter "The Veil" Marjane is trying to find herself in this new reign.

Persepolis highlights how the educational system in Iran was used to indoctrinate children with religious and political ideologies. On page 101, we can quote how this ideology absorbed Nasrine's child in the sense his son was told that if he goes to war he would be given a key that would give him access to "heaven" in which he would have all types of luxuries. This is with the idea of controlling them and manipulating them into thinking that what they are doing is correct.

After the Islamic Revolution in Iran, the government imposed strict religious laws that greatly restricted personal freedoms, including social activities like parties. In Pg:110, PDF, Marjane highlights how many people in their circle thought parting was necessary because they would be psychologically damaged if they didn't have them.

Throughout Persepolis, the Iranian government controls the media and communication technologies to spread propaganda and manipulate public opinion. This can be seen in school, as children are sent to war with the idea that they will be received in paradise full of luxuries. Children are not able to access other types of media that could make them think critically and doubt the government.

Using visuals allows Marjane to convey complex emotions and experiences with such power that the reader feels inside the story. Through black-and-white illustrations, Persepolis can have a good image of the brutality of war, the fear of oppression, and the joy of small rebellions, adding depth to the story of Marjane.

“This is a valley of ashes—a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens where ashes take the forms of houses and chimneys and rising smoke and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air” (Pg26) The Valley of Ashes serves as an important symbol of the working class's. This abandoned wasteland is between the wealthy neighborhoods of West Egg and places full of activity such as New York. The authorial choice is the imagery because the Valley of Ashes is described as a place where “ashes take the forms of houses and chimneys and rising smoke,” representing the physical and moral decay of those left behind in wanting to climb in social classes.

At Gatsby’s party, Nick notes, “This is an unusual party for me. I haven’t even seen the host. I live over there —— ——” I waved my hand at the invisible hedge in the distance, “and this man Gatsby sent over his chauffeur with an invitation.” For a moment he looked at me as if he failed to understand” (Pg 52). Gatsby’s focus on extravagance over genuine connections critiques the materialistic values of the time. The authorial choice in this quote is contradiction as you would expect to know the party host. This creates a effect apathy between Gatby and Nick.

"Gatsby. Somebody told me—’”

The two girls and Jordan leaned together confidently.

‘Somebody told me they thought he killed a man once.’

A thrill passed over all of us. The three Mr. Mumbles bent forward and listened eagerly." The rumor-spreading culture at Gatsby’s parties is indicative of how rapid social and technological advancements can create environments where disconnection and speculation are huge. The authorial choice of this quote is a caracterization of Gatsby, by allowing others to define Gatsby through rumors like "he killed a man once," Fitzgerald builds an air of suspense and uncertainty around him.

“This is a man named Gatsby. They say he’s a nephew or a cousin of Kaiser Wilhelm’s. That’s where all his money comes from” (Pg 36). The swirling rumors about Gatsby highlight the imaginative speculation surrounding his persona. The authorial choice for this quote may be a historical allusion that creates a effect of power to the image of Gatsby.

"But young men didn’t—at least in my provincial inexperience I believed they didn’t—drift coolly out of nowhere and buy a palace on Long Island Sound." (Pg 54) Gatsby’s ability to acquire wealth and property challenges the traditional systems of power, but it also suggests that his methods were not entirely fair or legitimate. The phrase “buy a palace on Long Island Sound” is a vivid image that emphasizes Gatsby’s wealth. It contrasts the common, "ordinary" perception of success with the excessiveness of what Gatsby has achieved.

He had been cast out of his clan like a fish on to a dry, sandy beach, panting.” (Chapter 14)
This metaphor highlights Okonkwo’s displacement and the personal impact of colonial disruption. The novel’s form—third-person narration with Igbo proverbs—preserves Igbo oral traditions, reinforcing the depth of what is being lost.

He has put a knife on the things that held us together and we have fallen apart.” (Chapter 20)
Achebe uses this metaphor to illustrate how colonialism, through religion and education, dismantles Igbo unity. The novel’s use of Igbo phrases and folktales serves as a counter-narrative, resisting the idea that indigenous cultures are primitive.

“Does the white man understand our custom about land?” “How can he when he does not even speak our tongue?” (Chapter 23)

The dialogue highlights the lack of cultural understanding in colonial governance.

“The year that Okonkwo took eight hundred seed-yams from Nwakibie was the worst he had ever known.” (Chapter 3)

Achebe’s detailed descriptions of farming cycles show the Igbo’s deep connection to nature. The British introduce new systems that prioritize economic gain over sustainability, foreshadowing environmental exploitation.

“He mourned for the clan, which he saw breaking up and falling apart.” (Chapter 25)

Okonkwo’s suicide symbolizes the ultimate defeat of traditional Igbo society. The novel’s structure—divided into pre- and post-colonial sections—mirrors this fragmentation, reinforcing the irreversible nature of colonial impact.

“Nothing was your own except the few cubic centimeters inside your skull.”

(Part 1, Chapter 1)

Explanation:

In 1984, the Party erases individual identity by controlling thought, behavior, language, and history. The concept of a shared cultural identity disappears as people live in fear of expressing their true thoughts. Community bonds are also broken—families betray one another, and even children act as spies. This exaggerated statement emphasizes the extreme control the Party has over citizens’ lives—even their thoughts are barely safe. The hyperbole captures the total erasure of individual identity

“The Party told you to reject the evidence of your eyes and ears. It was their final, most essential command.”

(Part 1, Chapter 7)

Explanation:

Education in 1984 is not about critical thinking or truth, but loyalty to the Party. Children are taught to worship Big Brother and report on dissenters. The Party rewrites history and facts, learning citizens to accept whatever version of reality it promotes. This statement is deeply ironic because the senses are normally trusted as the foundation of truth and learning.

“If you want a picture of the future, imagine a boot stamping on a human face—forever.”

(Part 3, Chapter 3)

Explanation:

Orwell illustrates how totalitarian regimes maintain power through fear, violence, and complete control over justice. There is no rule of law—people are arrested without reason, tortured, and made to confess crimes they never committed. Justice is a tool of oppression. The boot stamping on a human face is a metaphor for brutal, unending oppression. It symbolizes how political power, when unchecked, becomes violent and permanent.

“Big Brother is watching you.”

(Repeated throughout the book, first in Part 1, Chapter 1)

Explanation:

In 1984, technology was not used to improve lives, but to monitor and control. Telescreens record every movement and word, creating a constant sense of surveillance. "Big Brother" symbolizes the ever-present surveillance state and the loss of personal freedom. The repetition of this phrase creates a sense of paranoia and constant control.

“Even the literature of the Party will change. Even the slogans will change. How could you have a slogan like ‘freedom is slavery’ when the concept of freedom has been abolished?”

(Part 1, Chapter 5)

Explanation:

Art and language are tightly controlled in 1984. Newspeak is designed to eliminate the very possibility of rebellious thought, and creative works are either banned or produced by machines that churn out propaganda. The slogan “freedom is slavery” is a paradox—a statement that contradicts itself yet reveals a truth within the twisted logic of the regime.