Both John Fowles in The Collector and Ian McEwan in Enduring Love use complex symbols and metaphors to expound on the theme of obsession. In Enduring Love, the opening events and the balloon metaphor act as a foreshadowing device for obsession. This is demonstrated by John Logan's laudable but obsessive refusal to let go of the rope that drags him further and further from safe ground and the sanity it represents. This idea is also analogous to all obsessive actions that develop from this "dot on the map of time", such as Joe and Jed's obsession with each other and Jean Logan's obsession with her husband's death. In Enduring Love, the balloon symbol is an inanimate object while the main symbol in The Collector is the butterfly. In The Collector, this symbol is more of a recurring motif and not something the reader can trace as the beginning of the obsession. However, it still serves as a metaphor and prefigurative device through which the reader can infer Miranda's future, including her capture and imprisonment. The visual aspect of the butterfly and the concept of immobilizing it to open its wings and then photographing it from every angle for 'scientific' purposes certainly finds shocking visual parallels in Clegg's obsessive behaviour: 'I held it until I had no more light bulbs. 'Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The Enduring Love comic is also a striking visual metaphor that foreshadows an uncontrollable obsession in the book. The author gives it a transcendental quality by linking it to the formation of the universe "the generation of the multiplicity and variety of matter in the universe" and to cosmology. This scientific authorial voice characterizes the novel's narrator and suggests the great implications of comics on narrative. Rose describes him as "the behemoth in the center of the pitch that drew us in". The exaggerated dimensions suggest that the author is moving beyond the ball as a physical object but more as a force of nature or a scientific abstraction for the obsession that seems to inexorably drag men towards it. Similarly, the lexicon used by Fowles to describe butterfly catching, for example Clegg's "diary of entomological observations", is akin to someone trying to emulate a scientific tone and this creates an equally distinct narrative voice for Clegg and his related obsession. Clegg's "diary of observations" also parallels the capture of butterflies and beautiful women as of equal importance, dehumanizing Miranda and making her obsession easier to justify. Clegg freely admits that "seeing her always made me feel like I was capturing a rarity", once again juxtaposing Miranda and butterflies. McEwan's use of the balloon as a symbol begins a complex web of ambiguity. The reader is unsure whether Logan's attachment to the rope is truly an obsessive action or an action projected into that role by those who selfishly let go. Ironically, Joe's seemingly rational action of throwing himself from the ball sets in motion the events that lead to the central obsession. For the narrator, the comic episode marks a "branching and subdivision" that opens "paths of love and hate" that are confirmed throughout the novel. Therefore, in Enduring Love, the events surrounding the balloon act as a catalyst that opens "pathways" for the obsession to propagate. However, in The Collector the obsession has already begun. Instead, Fowles builds a slow awareness of Clegg's danger and creates tension with his specific obsessive observations, "very pale, silky, like cocoonsburned" with the simile that once again shows the competition between Miranda and the butterfly. The symbol of the butterfly juxtaposed with Miranda also explains the title of the novel; he is not simply a collector of butterflies but also a collector of people. The title Enduring Love it is not fully understood until much later in the novel. Instead there is a sense that the ball is a transformative device for McEwan, "a sort of furnace" from which "identities and destinies would be transformed into new forms" facilitating the transition from normality to obsession. The language of accurate scientific observation is once again evident, especially the “mathematical grace” of the situation which suggests the fateful inevitability mentioned above. Similarly, the language usually used to describe butterflies in The Collector, "elusive and sporadic", is instead attributed to Miranda. However, Clegg does not realize that the beauty of the butterfly lies in the delicate movements of flight when it is truly 'elusive' and not when it is captured and scrutinized "scientifically" (similar to the paradox of Art and Photography). Fowles creates a dichotomy by juxtaposing Clegg's dim-witted personality with the spontaneity of the butterfly (Miranda) who represents the balance of their personalities. This juxtaposition also represents the other paradoxes of obsession within the novel, including art and science, dangerous and normal obsession, and even class opposition. However, before such exploration, one must first trace the growth and beginning of the obsession. The opening of Enduring Love, including the balloon metaphor, is formative in the creation of obsession. McEwan acknowledges this, distinguishing between the "large-scale events" of the ball and the "more subtle elements" such as Rose's first meeting with Jed Parry; A seemingly innocuous moment of prolonged eye contact, "(her) clear gray-blue eyes stared into mine." McEwan's retrospective eye suggests that this is the absolutely specific moment when the obsession begins because beyond this "every gesture, every word" is "collected and piled up, fuel for the long winter of his obsession". McEwan is ambiguous as to why this specific moment begins Jed's obsession, although it is implied to be a combination of shock from the accident and loneliness. In contrast, Fowles presents Clegg's obsession as born of lack of education and obsessive inadequacy with his background, "(everyone) seemed to despise us". Interestingly, both parents of the central obsessive characters are “absent,” meaning that their obsessive actions are largely unregulated, including those undertaken by Clegg corresponding to his growing obsession, “I used to see her…I was just behind her... I star(ed) at her for thirty-five minutes." These careful and specific observations characterize much of the first chapter and the detail with which Fowles describes the events, "she sat three seats down and to the side towards me" indicates Clegg's potential danger. A sense of dramatic tension is created because the reader is unsure how Clegg will “consummate” his obsession. Indeed, both authors use structural devices to ensure that their protagonists receive large sums of money, Clegg from the "pools" and Jed from his inheritance, giving the characters the means to pursue their obsessions without being burdened by the need to work , and so money. Parry's obsession is presented by McEwan in the context of his religious beliefs, "god brought us together in this tragedy" and contact with Joe provides fuel for both Parry's obsessive love but also his need to "convert" Joe. Parry's obsessive religious fanaticism is evident in his self-referencehimself as a "messenger" and to the word of God as "a gift". This first meeting sets the tone for the rest of the novel in which Parry uses religion and denial to create a haunting fictional world. His obsession is difficult to classify and is clearly not a conventional love. Joe, in typical scientific style, labels it "de Clermbault syndrome", as if thanks to the classification the condition suddenly becomes explainable. Fowles on the other hand does not classify Clegg's condition but leaves it up to the reader to draw conclusions from the text regarding his clearly disturbed mental state. This is achieved by the unreliable narrator used by Fowles who creates ambiguity about the true nature of his obsession. Like Parry one suspects that his perception of the world is delusional and contrived, "if more people were like me... the world would be better" also if it is not clear whether this is a self-imposed illusion. Clegg attempts, early on, to suggest that his intentions towards Miranda 'were of the best' but nevertheless, later in the novel, his feelings towards her are clearly sexual in nature, 'the photographs... I could take my time with them. ' Furthermore, his obsessive infatuation seems to arise exclusively from her physical appearance, "so beautiful" and his idealistic vision of her, "like a mermaid". From this conclusion comes one of the main differences in the authors' presentation of obsession. Clegg is obsessed with physically controlling Miranda, both in a sexual sense but also as a "collector", while Jed's obsession is to win Joe's mind to God and platonic love. In this way, the presentation of obsession is reversed by both authors; Joe is physically free in the outside world, “our prison got bigger,” but captured in his mind, “my mental state was very fragile.” On the other hand, Miranda is confined and controlled "in this little room" and yet finds comfort in her imagination, "I have written myself into another world" and is able to transcend her physical capture. It would therefore appear that the perpetrator's construction of the primary obsession is used to create an obsessive counter-reaction on the part of the victims. In Enduring Love, Joe becomes equally obsessed with Jed and McEwan uses the technique of the unreliable narrator and the similarities between the two to make their relationship even more ambiguous. The similarity of their names suggests an intentional comparison on McEwan's part as if in slightly different circumstances they might occupy similar roles. This parallel between Joe and Parry, insinuated by McEwan, is encapsulated when Clarissa observes "His writing is rather like yours" reinforcing the ambiguity as to whether Jed is real. Joe's seemingly irrational response to someone who appears seemingly harmless (or otherwise absent) makes the reader wonder who the real dangerous obsessive is. McEwan further develops this concept through multiple perspectives, first from Clarissa, "the Parry described by Joe, doesn't exist" and then from Inspector Linley (whose "globular face" resembles the balloon) "as Stalker goes, he's a kitten" from interpret. doubt about Joe's obsessive statements. Essentially, Joe's obsession forces him to return Jed's attention which, in turn, fuels the obsession Jed feels. In contrast, Clegg's obsession causes Miranda to distance herself from him. Fowles uses Miranda's obsession with GP (the antithesis of Clegg) to add narrative richness to the text and, interestingly, we can see the progression of her thought process until the epiphany: "I will marry him." The contrast between normal love (a form of healthy obsession) and Clegg's possessive and repressed sexual feelings are juxtaposed by Fowles. It is interesting to note that thePolarity established through the juxtaposition of these two extremes shows Clegg's obsessive love for what he truly is. Miranda's imprisonment and love for GP also lead her towards a more understandable obsession: escape. His willingness to do "anything" to achieve freedom, "he's done some things I won't say" reflects the zeitgeist of sexual liberation synonymous with the 1960s, but also contrasts with Clegg's sexually repressed emasculation. From a structural point of view, Miranda's sexuality and anticipation break the balance of obsessions between the two characters. Reject Clegg's obsessive behavior and try to act positively against it. However, instead, her actions highlight his sexual ineptitude and drive them apart "more than ever". Likewise, McEwan highlights his protagonist's elimination of obsession through the rather crude and visceral metaphor of excretion. Unlike Miranda's love epiphany that compels her to take positive action, Joe's is opposed to the realization that humans are detached from the "big" world. The cycles of nature and human existence are meaningless compared to every other organism and process on which it depends. This reflection, essentially McEwan's, highlights how solipsistic and self-centered obsessive behavior truly is and leads Joe to purchase a gun, thus breaking the obsession between them. Structurally, these events also cause an imbalance that leads to the inevitable climax of the obsession. In The Collector, this is demonstrated by Clegg's statement, "I've had enough...I've gone and pulled the covers off her," revealing his true obsessive behavior. Miranda's early attempts to satisfy Clegg's sexual obsession are used to justify her subsequent treatment of him: "Everything I did after that was because of that night." After Miranda's final death and Clegg's choice of his next target, "Marian" reveals that his specific obsession with Miranda has been destroyed but his obsessive personality remains. In Enduring Love, obsessive love also (not surprisingly) endures and is expressed in the appendix, “P writes to R daily.” Interestingly, despite the climactic confrontations, both authors assure that the abnormal obsessive behavior persists. These primary obsessions are contrasted with a rich tapestry of secondary obsessions displayed in various subplots and extensive allusions to Shakespeare. The weak parallel of the Tempest is used ironically by Fowles and is shown in Clegg's delusion of renaming himself "Ferdinand" reflecting his idealistic view of obsession. However, this is subverted by Miranda seeing through his facade and calling him "Caliban" instead, creating a parallel between Clegg's delusion of who he wants to be, versus who he truly is. The fact that Caliban famously attempts to rape Miranda in "The Tempest" also foreshadows Clegg's sexual obsession. Interestingly, the novel's parallel with the Tempest is not fully confirmed by the book. Miranda is not the idealistic and submissive woman that appearances suggest, but strong, independent and attracted to someone who shares her obsessions: GP. Ironically, he is a sort of Caliban in his vulgarity and hedonism. Similarly, in Enduring Love, McEwan alludes to Othello in Joe's suspicion that Clarissa is having an affair with "Some nice bearded goat" although the Iago of the story is, unusually, Joe's obsessive and irrational mindset. Jean Logan's obsession with her husband's fidelity is a further example of every obsession emanating from the ball, and GP's obsession with living as a "truthful" artist (demonstrated by his manifesto) creates a rich structural backdrop of behavior, 1997