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The trope of visibility/invisibility is central to the writing and comprehension of lipstick jihad. Think about what it means for Azadeh to be visible/invisible as a woman, as an american(or Iranian-American), and as writer. How clear is the boundary between visibility and invisibility? How does her identity operate through this pair? Why does it operate through this pair?

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In Lipstick Jihad, by Azadeh Moaveni, she cleverly uses the main title to express the female struggle against authority in her native Iran. But, despite her attempt, the lipstick she points to is really only the outward expression of the fuel that fires Iranian women to rebel. The real issue is the more familiar one of the traditional headdress or hijab that Iranian women must wear. In fact, it is the wearing of the hijab that allows the Iranian women to launch a Jihad by wearing lipstick. This notion of the hijab is very useful in understanding the feeling of visibility/invisibility that Azadeh experiences throughout her novel in contradictory ways. The subtitle reflects this inner conflict: A Memoir of Growing up Iranian in America ad American in Iran.

First, as a child of the Iranian diaspora, raised in Palo Alto, California, Azadeh begins to realize that her entire life will be one reflecting her visible and invisible self. She, of course, must mature to fully self-realize and actualize this theme of her life. It can be seen early on, however, as she struggles to maintain the life of a typical child in California, while realizing that her “homeland” is in an entirely different world and that her invisible self is forever tied up in that homeland....
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