“In my opinion… this opening scene is the best part of the whole movie. Not to say I disliked the movie, but this scene makes such an impression. At first, I thought something was wrong with the sound… no music, no sound effects at all for the first minute. And all those frozen faces staring at this man trapped in his car, panicking… It’s not very long but it’s such a tense scene. Like a nightmare caught on film.”

Top comment on this video, I loved this description “Like a nightmare caught on film.”

We use the words interchangeably in the everyday- what is the actual difference between a symbol and a metaphor?

A visual symbol represents an idea, and the way a viewer recognises it is what makes it a symbol; a flag stands for a country, a heart stands for love. A symbol represents something else than what it literally is. It has a literal meaning and a symbolic one. “Symbols are culturally specific, but also deeply personal.”

A visual metaphor associates links with another idea. It compares one with another. EG a painting of 2 figures, one shouting with knives coming out of their mouth- the knives are a visual metaphor for words cutting like a knife.

The key difference between a visual symbol and a visual metaphor is that a symbol represents something, whereas a metaphor creates a comparison between two unrelated ideas.

“The Inferno describes Dante’s journey through Hell, guided by the ancient Roman poet Virgil… As an allegory, the Divine Comedy represents the journey of the soul toward God, with the Inferno describing the recognition and rejection of sin.”

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–The Epic of Gilgamesh, Or He Who Saw Deep- Andrew George

“The basic story follows the King Gilgamesh of Uruk (modern-day Warka, Iraq) and his friendship with the wild man Enkidu. They undergo various battles including fighting and defeating the bull of heaven. Later, upon Enkidu’s death, Gilgamesh journeys to the edge of the earth where he goes in search of the secret of eternal life and, not finding it, returns home to Uruk having in some manner, in spite of life’s sorrows and travails, made peace with his own mortality.”

–The Divine Comedy- Dante

“Written after Dante had been sent into exile from his beloved city of Florence, the Commedia tells of the pilgrim’s descent into hell, his travel through purgatory, and eventually his ascent to paradise, with the Roman poet Virgil as his first guide, and later his beloved, Beatrice. The Commedia—the adjective “divine” in the title wasn’t added for several hundred years—begins with “Nel mezzo del cammin di nostra vita/mi ritrovai per una selva oscura” which can be translated from the Italian to “Midway through the road of our life I found myself in a dark wood.””

–Don Quixote- Miguel De Cervantes Saavedra 

“Alfonso Quixano has read too many chivalric romances (popular in 15^th and 16^th-century Europe), has gone mad from his reading, and now confuses reality with fantasy: he imagines himself the knight-errant Don Quixote and he determines to set off in search of adventure. From that premise, we journey through the countryside with our knight errant and his squire, Sancho Panza, as they slay giants (windmills) and defend the honor of his lady-love, Dulcinea del Toboso (a neighboring farm girl), who doesn’t actually ever appear in the story. In addition to being an amusing, laugh-out-loud tour de force of strange encounters as the pair travel across La Mancha, the reality of the violence, ignorance, and venality—not of Don Quixote, but of the society in which he lives in 17^th-century Spain—of corrupted clergy, greedy merchants, deluded scholars, and the like, is on full display.”

–Season of Migration To The North- Tayeb Jalih 

“Tayeb Salih’s mid 20th-century masterpiece is narrated by an unnamed young scholar who returns from England to his village on the Nile after seven years of study abroad and encounters a mysterious newcomer, Mustafa Sa’eed, who also lived for many years in the north. The novel takes up the many complexities and legacies of colonialism in post 1960s Sudan, the difficulties of encroaching modernity, the tragedy of Sa’eed’s life in England, and the intricate web of communal relationships in a traditional village.”

–The Bear- William Faulkner

“The journey here is into the woods to hunt Old Ben, the last remaining brown bear of his kind and stature in the quickly diminishing woods of Mississippi at the turn of the 19^th-century. As with so much of Faulkner’s work, the writing is sublime, the form strange, the land is a character, and we witness the maw of industrial capitalism as it reduces everything—animals, the land, people—to a ledger of profits and loss.”

–Invisible Cities- Halo Calvino

“Italian writer Italo Calvino’s fantastical novel is about the imagined conversations between the 13th-century Venetian traveler, Marco Polo, and the Tartar Emperor Kublai Khan of the cities Polo has seen during his travels. The book, however, is mostly made up of descriptions of cities—fantastical forays not into any visible or historical cities, but imaginary invented ones: both ones that might have been and could be, and ones which perhaps did or do exist but are now transformed by the lens of story and distilled to their strange often wondrous essences. ”