Both the blog written by pseudonymous author Riverbend and the graphic novel Persepolis by Marjane Satrapi are vivid examples of female narratives in the face of wartime and trauma. Though geographically and historically different, one was documented during the American bombings of Baghdad and the other during the Iranian Revolution and Iran-Iraq war, the two autobiographies confront westernization, desensitization of violence, and a theme that scholar Hillary Chute coins as the “procedure of memory” (97). Each narrative (either by post or by chapter) systematically presents an important event, turning point, or peek inside daily life; its holistic effect is an account of identity representation in traumatic and politically chaotic circumstances.

Riverbend writes her blog much like a novel, eliciting strong emotional and visual descriptions that are empathetic with broad audiences, whether or not they have experienced trauma at such extreme levels. Many of the posts deal with daily fears and frustrations accompanied by wartime, yet her explanations maintain a heavy cynicism towards both the Iraqi and American governments. A striking example of her criticism is outlined in a post titled “Liar, Liar” written in September of 2004, where she unabashedly denounces President Bush’s speech. She writes, “Imagine long nails across a chalk board, Styrofoam being rubbed in hands, shrieking babies, barking dogs, grinding teeth, dripping faucets, honking horns all together, all at once, and you will imagine the impact his voice has on my ears.” In this quote, and in the blog overall, Riverbend emphasizes her unique perspective as an educated, politically involved, feminist female Iraqi, effectively drawing an audience (likely Western) which identifies with a similar mindset but also which takes interest in the special context of her writing.

Comparatively, Satrapi’s Persepolis takes a similar political and feminist undertone but from the angle of a privileged, westernized young teenage girl. Her writing style within the graphic sphere focuses on Marji’s juxtaposed position in the largely oppressive and extremist society of post-revolutionized Iran; this is portrayed not by stark verbal narrative but rather by the use of black/white imagery and spacial representation of scenes and characters. Persepolis is not as fluid in daily events like Riverbend but instead depicts important turning points in Marji’s childhood and the effect that trauma has on her adolescent development of identity. On the first page of the book, Satrapi bluntly explains the first day she was forced to wear a veil to school: her emotions are emphasized by facial expressions and body positions, black or white backgrounds, and self-orientation in the frame in relation to reader viewpoint. Persepolis requires stronger visual insight of small but important stylistic choices than does Riverbend, creating a different but equally complex ambiance to the narrative.

Riverbend and Persepolis ultimately share strong similarities in author perspective. Both women are educated, young, politically aware and involved, critical, feminist to a degree, and most importantly, vocal in their rebellion. While Marji participates in riots and wears inappropriate clothing in public, Riverbend strongly speaks out against political inequalities and injustices by narrating the war from an insider perspective. Both blogs effectively draw audiences who are not in the same position, but who share similar critical views and who appreciate stories with familiar Western ideals.