By Fanny Todd Mitchell, 1961
This book is the recount of some of the places the author has gone, and the food she ate while there (in recipe format). At first I was interested in the book because I expected it to be about the frou frou foods of a highbrow woman, and I thought it might be interesting to use the altered book form to comment on the unapproachable â€śfoodieâ€? atmosphere that often surrounds â€śhigh-qualityâ€? cooking. And many of the recipes in this book are ostentatious. However, I became intrigued by much of the subtext that lies within her writing. This book is structured (chaptered) by locations. Each location section begins with a lush, expressive illustration (incidentally penned by her son). On the verso of these illustrations is a short paragraph explaining Mitchellâ€™s connection to the place and / or foods. The recipes then follow. Even though the paragraphs are short, she makes remarks that seem to have deeper significanceâ€”for instance she was in Russia at some point during WWII. This book is also fascinating because of its description of cultures and â€śethnicâ€? foods during a time when much of this food (and the peoples it came from) were deeply stereotyped. But Mitchell seemed to travel widely, and appears to have had an open viewpoint. It is interesting to see her write about these exotic foods for an audience who knew little to nothing about themâ€”foods we know well today needed explanation then. For instance, in the section titled â€śArab Cookeryâ€?, she subtitles â€śkebebsâ€? with â€śHamburgers on a Skewerâ€?, and â€śHomosâ€? with â€śAn Hors Dâ€™oeuvreâ€? .
Concept & Intent
The concept I would like to explore with this book is â€śfood as an experienceâ€?. The illustrations are presented in black and white, and this seems to me to be in stark contrast to Mitchellâ€™s experiences and the experience of the food and the varied culture. When I think of food, I think of the sensory experience it bringsâ€”the colors, smells, tastes, textures. While tasteâ€”and perhaps smellâ€”are not easily communicated through the book form, I would like to allude strongly to these important and enjoyable aspects of food by making the visual experience much richer.
I think this approach could then tie into the cultures experienced in a very strong way. As stated in the cookbook, Moosewood Restaurant Celebrates, â€śFood, beyond meeting our basic need for nourishment, is a profoundly significant instrument of cultural identity. Through food we experience abundance, nurturing, generosity, pride, and fulfillment. It connects us to our past, reorients and centers us in the haste of the present, and is a practical, beautiful means of renewing, sharing, and passing our ethnic, regional, national, even ideological identitiesâ€? (23).
I would like elaborate on, and make literal the connection of food to culture (and vice versa) by illuminating and further illustrating these pages to denote a rich and colorful experience. Secondly, Iâ€™d like to explore the places she describes at the time that she is describing them, to set these rich experiences and her slight narratives against what had to be tumultuous times. The success of this approach could very well depend on available research materials, and the ability of each section to be dated. If little is to be found, then the illustrations and her narratives will be set with explanatory narratives of the foods within, or contemporary investigations of the cultures and foods she depicts.
One of the last things I find so interesting about this book is Johanna Druckerâ€™s notion that there are two kind of altered booksâ€”books that are well known and that carry significant cultural and regional importance, and books that would otherwise slide into obscurity. The Pleasures of a Gourmet clearly falls into the second category. Cursory internet-only based research reveals little about either the author, or her son the illustrator. The jacket flap of the book itself refers to the elder Mitchell as a widowed, failed actress whoâ€”because of pityâ€”was offered a job transcribing plays, and subsequently became a writer, often adapting scripts for plays, and plays for cinema. What little mention is made to her online is either connected to these plays, or to the book in question. An illustration called â€śFanny Todd Mitchellâ€? , dated 1928 found on flickr could refer to her, and it depicts a 1920â€™s era woman. More information seems to be available for her sonâ€”the illustrator. He seems to be somewhat-known artist who did illusionistic, neo-romantic designs tinged with surrealism, but who is better known as a wallpaper, textile, and pattern designer. However, biographical information was not available on either person. Another interest I have is shedding some light on these forgotten peopleâ€”unraveling the mystery of their lives that was seemingly exotic and whirlwindâ€”through form and through illumination (artistic and informational).
The Ultimate Game and Fish Cookbook: 110 years of great Sports Afield Recipes (Gray, Rebecca, Ed.,1997)
This book was purchased new at a local Borders Bookstore, and contains a number of recipes from the hunting magazine Sports Afield, some of which date prior to 1900. The recipes are broken down into season, and then further into a number of animals that are available to hunt in that given season. Animals range from fish and deer, to iguana, crow, and mice.
What attracted me to this book-â€”and I use the term â€śattractedâ€? looselyâ€”was the sheer ridiculousness of many of the recipes (shish kabunny, chicken-fried iguana), as well as the fact that many of the recipes are not in the least bit appetizing (mouse stew, squirrel pot pie) and actually sound quite barbaric. Lastly, many of the recipes spare little in the brutal, graphic description of the death of the animal or in the details of preparation or cooking techniques.
Concept & Intent
The concept I would like to explore with this book is the conventional acceptance of animals for human consumption, using Eat Like a Wild Man as its base. This book is long, at over 300 pages, and as such, I would like to use the entire codex, breaking it up into five or six smaller books that explore this idea in different conceptual and formal ways. This set of books would then be housed together, perhaps in a slipcase or box. Concepts could range from issues of violence, ideology, health, ecological / environmental concerns, commercial agribusiness, and perhaps even contrasted notions of wild animals as creatures to be hunted and eaten (Eat Like a Wild Man) versus wild animals as creatures that aid and instruct human beings (mythologies and folktales).
Altered books are books that use the form and content of an existing, published book as a starting point and springboard towards a message of another kind. This could be either in opposition to, in support of the content that the book already containsâ€”orâ€”it could use the content to create a new kind of content altogether. However, no matter which approach the artist uses, the content and form that exists becomes the foundation and an integral part of the new content, whatever that may be. As Johanna Drucker says in The Century of Artistâ€™s Books,
â€śThe convention of the book is both its constrained meanings... and the space of new work... But working on an existing book is not quite the same as either of theseâ€”it is not a replication of conventional form and it is not a completely new statement within the existing vocabulary of forms. The transformed book is an intervention... All of these practices of working onto or into an existing work are interventions into the social order, and the text of the world as it is already writtenâ€? (109).
In short, working with altered books allows one to investigate not only the form of the most common bookâ€”the codexâ€”by deconstructing it and restructuring it, but altered books are also a kind of postmodern re-examination of the state of the book. The destruction of the book is widely seen as sacrilege, and it is often equivalent with the destruction of knowledge and free thought. But in a publishing world where thought seems to be second to profit and mass appeal, altered books call the viewer / reader to question what it is they are really buying and reading.