Abstract This paper introduces, discusses and analyzes slavery in antebellum America. Specifically, it expands on the experiences and challenges of the early "slave Muslims" in antebellum America. It also assesses the impact of the Ahmadi movement in America. The author explores how the movement differs from other Sunni immigrant movements.
From the Paper "Much has been written about the slave experience in the South, from the brutal beatings to the long, tedious working hours, shacks for homes, and little free time to worship or rest. Muslim slaves suffered even more because of their beliefs. Historian Smith continues, "Unfortunately for those who would have wished to practice their Muslim faith during the harsh circumstances of slavery in America, their Christian overlords rarely permitted it" (Smith 77). The pressure was so great on many Muslims that they capitulated and became Christians just to appease their owners and make their lives just a bit easier to bear. Smith notes, "While most of these black Africans did indeed become Christian, documents indicate that at least a few managed to maintain their Islamic faith, continuing as practicing Muslims until the early part of this century. Generally, they had to maintain their practice in secret" (Smith 77)."
Abstract Marjane Satrapi's "Persepolis" is the story of the author's childhood, one spent in Iran during the Islamic Revolution of the late 1970's and early 80's. The book provides readers with a reminder of how naive children can be about the true reality of life and displays how ones' maturity on this subject grows with age. This paper examines the changing perception of reality that Marjane has throughout the novel.
From the Paper "By the end of the book, readers are provided with a more grownup, realistic image of Marjane, one that has a perception of reality that is more mature and closer to the views of Satrapi herself than of Marjane as a younger child. Satrapi's drawing techniques strengthen Marjane's final phase of her transition from a childish outlook on reality to a more mature view on the matter. For example, the frame that Satrapi draws after Marjane realizes that her neighbors, the Baba-Levy's, have been killed is entirely black. The caption reads, "No scream in the world could have relieved my suffering and my anger" (see Appendix, Fig. 6). This frame is representative of Marjane's final realization that reality is actually much different than it seemed to be when she was younger."
