A Cartoonist's Metamorphosis: An Interview with Mana Neyestani

Abstract

MANA NEYESTANI was born in Tehran, Iran, and belongs to a family of talented artists: his older brother is a cartoonist; his father was a poet. In Iran, Neyestani worked as a cartoonist, and illustrator for economic, intellectual, political, cultural, and professional magazines, including Zan and the Persian-language Radio Zamaneh. He lived in Iran until his abrupt departure in 2006 after he was arrested and detained following violent riots in the province of Azerbaijan that broke out after a cartoon in a children’s magazine was published that some interpreted as insulting to Azeri people. He served three months in Iran’s notorious Evin prison along with the editor of the newspaper. When he was released on a temporary break, he left the country. His graphic memoir, An Iranian Metamorphosis, chronicles the incident that landed him in jail, the period of his imprisonment, and the strange way he came to understand the Iranian government from inside a prison cell. The book also chronicles his journey to escape Iran as he travels from Iran to Dubai, Turkey, Malaysia, and all the way to China. He also depicts the dangerous and painful measures that he and other refugees are willing to take in their efforts to seek safety and freedom. Neyestani’s book was translated into English and published in 2014 by Uncivilized Books. He is also the recipient of the Cartoonists Rights Network International Award for Courage in Editorial Cartooning. He currently lives in Paris, France. Persis Karim: Tell me about how you became a cartoonist and what role you think cartoons—whether satirical or political (or both)—have played in Iran. I know that your father was a poet and that your older brother is also a cartoonist. What drew you to this profession, and were you aware of its potential dangers? Mana Neyestani: In Iran, different people draw different types of cartoons. Some of these cartoonists are interested in gallery-type cartoons and in participating in festivals, while others are drawing and producing cartoons for the press. Unfortunately, many limits are placed on these cartoonists. The editorial cartoon is facing a lot of problems and is seen much less now than before. But in periods when cartoonists were allowed to work with fewer limitations, those cartoons were often leveling criticism at those in power (through metaphors or indirectly, of course) or taking up social issues and politics specifically. I myself started my work with magazines when there were not many satirical magazines or comedic publications. I worked much more with literary and political magazines, just like my elder brother, Touka Neyestani, who is a rather famous and skillful cartoonist and designer as well. My brother never discouraged me and, in fact, encouraged me to pursue my interests. PK: Can you outline the specifics of how your cartoons were received in Iran—both positively and negatively? And the specific response to the first cartoon you highlight in your book, the one about the cockroach that jumped off the page? It seems odd, really, that of all the cartoons that could have gotten you arrested, this one, finally, did you in. Is that cartoon the basis for the first demonstrations/reactions against your work, or were there others before this? MN: Ten to fifteen years ago, there were no Facebook or social media networks, and Internet use was rather limited. So when I received feedback for my cartoons, it was usually as mail sent to the magazine or occasionally by phone or at gatherings. Direct feedback from readers or critics on social media sites started only six years ago. The specific cartoon that got me into A Cartoonist’s Metamorphosis An Interview with Mana Neyestani by Persis Karim cover feature writing beyond iran 38 WLT MARCH / APRIL 2015 courtesy of uncivilized books WORLDLITERATURETODAY.ORG 39 trouble, which featured an image of a cockroach , was published in a children’s magazine . In it, I used a word, namana, which is rooted in the Azeri Turkish. The image and use of the word created so much misunderstanding . Those who criticized the cartoon took it out of context and made it look as if the cockroach was speaking Azeri. They interpreted it as...