Where now?

Now a location, model and props have to be found:

It is lucky that a gent is known and that upon consulting with him, will model and can also get his hands on a pipe, flat cap and old reading glasses.

The hand written manuscript can easily be produced as can two white origami swans (these will be made using the instructions from http://www.marcels-kid-crafts.com/origami-swan.html).

The location may be a bit more difficult to secure:

The hope is to use either the 'Burnt Tree' in Anslow or the 'Star and Garter' near the town hall in Burton-upon-Trent. As both of these poses a fireplace, mirrors with enough natural light and space to shoot.

Idea Development

Upon reviewing the initial idea it is clear that if it was combined with the inspiration gained from the review of the fie selected images, that it could work very well in fulfilling the brief.

Idea for the book cover now stands at this:

To have a gentleman seated at a table in a pub in front of a fireplace or mirror. He will be wearing a flat cap and it will partially obscure his face.

On the table in front of him will be his pint of Guinness, his pipe, his glasses and part of a handwritten manuscript. (The arrangement of the items will be experimented with as the shot is set up).

His posture and facial expression will be that of someone who is engrossed in what he is doing. Other ideas may well be played with. The scene may be shot with him with his pipe in mouth and him staring off into space as if seeking inspiration.

He will be sat with his back to the window so that the light will only pick out certain desired details of the set-up.

On the table will also be found two white birds, probably origami swans.

Further Research

With few ideas available it was decided that more inspiration was needed. The conclusion was that following on from the one idea available that google images would be searched for  parallels in hope of coming across ways to develop the idea.

The images below are the ones that grabbed attention:

(i) A gent in his local, in his flat cap with a pint of Guinness. He looks unapproachable, like he has turned to snap at someone. The lines on his face give him character, he fits into the stereotype of a 'typical old man' down the pub. This works very well as a black and white image. the emphasis is on the details of his face, the surrounding and his demeanor.

(ii) There is an unescapable are of separation in this image. The two men are sitting no more than two meters away from each other yet neither are making any effort to interact. Both are in there own world. Although this is a contemporary image shot in black and white, (with the camera rested on the table) this is the impression brought to mind when considering the author of 'at swim two birds'. That he is by himself fully focused on his creation, not interacting with anyone.

(iii) This is the strongest of the images that were taken off google images. The fact that the gentleman in the picture is obscured by the glass screen adds a whole other dimension to this composition. There is no way of knowing how this gent is, what he is thinking or how he is feeling. Everything we know about this gentleman will be created by our own experiences on how a man on his own in a pub is, thinks and behaves. The two stools in the bottom right of the image emphasise the fact he his by himself.

(iv) The figure is blurred where he is moving, yet in focus where he is still. this is a moment captured perfectly. Despite this however, that is not the reason it was chosen. It is the wooden surrounding of the public house that he is in that is the interest. The tones, shapes, patterns and textures of the wood combined with the smooth metal adornments create many points of focus, if the image is being thoroughly explored.

(v) The fifth image compared to the other four is an odd choice. This is a very busy composition, everywhere the viewer looks something is happening. this could be the man smoking his pipe, the gent and his dog interacting, the man who is watching what is happening or the three chaps that are leaving the pub. This has been included because of how the light from the window has highlighted certain figures or items. Because of the light, the focus is on the silhouetted figure of the man with his pipe and the man giving his dog a drink. The eyes start on the dog, switch to the silhouette then move from right to left picking up every detail. The available light if used correctly could be very effective when shooting for this brief.

Ideas

Due to the confusion surrounding the book there are few ideas floating about.

So far all that stands out from the research is ‘a public house’ and a list of items: A pint of Guinness, an old smoker’s pipe, handwritten papers / manuscripts, writing implements, pair of spectacles, and 2birds.

Where to go from this starting point is the problem. There is one idea that combines all the points above, but that may be too simple: Sitting a gentleman in a pub with his pipe and pint and having a few sheets on manuscript on a table with a pen or pencil near them.

More thought is obviously needed.

Previous Covers

i) Definitely looks to be the oldest cover, very plain, very simple. It says nothing of the book itself, so is of little help. Still, it does show how long the book has been about, and with it being re-printed again, it must be worth reading.

(ii) Holds reminders of ‘Step-toe and son’. So therefore has a personal comical association. It is feared however that this distracts from the intentions of the original designer and photographer of the cover. It shows two gents in a public house in the 1950s / 60’s, the age range similar to that of a father and son. There is a pint of Irelands finest and an ash tray on the bar. The composition does not show the gentlemen interacting with each other; they are looking out of frame as if talking to other friends. The theme of alcohol runs very strongly throughout the book and the image of an ashtray may help with ideas.

(iii) This is a very 60’s in-your-face design. It is extremely bold and brash, not something that would be seen on a Penguin Classic book of today. It is composed of four squares of colour making up the bottom two-thirds and a banner of blue at the top which holds the title. Within each of the squares appears to be a bird-at-swim, again of differing colours. The theme of the birds-at-swim appears.

(iv) A simple idea of a bowler hat on top of sheets of a hand written manuscript. This gives the imagining of an old-style gentleman sitting down at his table, removing his bowler hat, getting out his writing equipment and focusing intently on composing his book. The intriguing point about this cover are the figures that have been made from out of sheets of the manuscript; there are three figures that seem to be running menacingly towards the hat, almost rioting, rebelling against something.

(v) A table surface, with a pencil and a glass on it. Does not really seem very indicative of the story, at least not until closer attention is paid. There are three marks on the table where the glass has been, two of the marks are in the shape of birds; birds formed of condensed water from the outside of the glass – very clever. It could represent the sight that would be seen by the author in the book when he looks down at the table in front of him.

Thoughts on the book

Where to begin!

It took a long time to get any real grasp on this book what-so-ever; this would not be something that personally would be read as it would take a while to truly get into it.

There are three separate beginnings, which as the books progresses all intertwine and interact. There three story lines are each based around one character. The third is a student who spends more time drinking, lying in bed and writing his novel than going to lectures. The characters end up rebelling on the author who creates them and it ends seemingly rather abruptly.

Madness!

The more that is read of and about the book, the less it is understood. It is definitely going to be worth looking at previous covers and seeing if suggestions from them and further reflection on the book can help to create any initial ideas for a cover.

Book Extract 4

Now listen, said Shanahan clearing the way with small coughs. Listen now.

He arose holding out his hand and bending his knee beneath him on the chair.
When things go wrong and will not come right,Though you do the best you can,When life looks black as the hour of night –A PINT OF PLAIN IS YOUR ONLY MAN.

By God there’s a lilt in that, said Lamont.

Very good indeed, said Furriskey. Very nice.

I’m telling you it’s the business, said Shanahan. Listen now.

When money’s tight and is hard to getAnd your horse has also ran,When all you have is a heap of debt –A PINT OF PLAIN IS YOUR ONLY MAN.
When health is bad and your heart feels stranger,And your face is pale and wan,When doctors say that you need a change,A PINT OF PLAIN IS YOUR ONLY MAN.

There are things in that pome that make for what you call permanence. Do you know what I mean, Mr Furriskey? There’s no doubt about it, it’s a grand thing, said Furriskey. Come on, Mr Shanahan, give us another verse. Don’t tell me that is the end of it.

Cant you listen? Said Shanahan.

When food is scarce and your larder bareAnd no rashers grease your pan,When hunger grows as your meals are rare – A PINT OF PLAIN IS YOUR ONLY MAN.

What do you think of that now?

It’s a pome that’ll live, called Lamont, a pome that’ll be heard and clapped when plenty more…

But wait till your hear the last verse, man, the last polish-off, said Shanahan. He frowned and waved his hand.

Oh it’s good, it’s good, said Furriskey.
In time of trouble and lousy strife,You have still got a darlint plan, You still can turn to a brighter life –A PI NT OF PLAIN IS YOUR ONLY MAN.

(From fujifilmstudentawards.co.uk)

Book Extract 3

O hag, said Sweeny, searing are the tribulations I have suffered; many a terrible leap have I leaped from hill to hill, from fort to fort, from land to land, from valley to valley.

For the sake of God, said the hag, leap for us now a leap such as you leaped in the days of your madness.

And thereupon Sweeny gave a bound over the top of the bedrail till he reached the extremity of the bench.

My conscience indeed, said the hag, I could leap the same leap myself.

And the hag gave a like jump.

Sweeny then gathered himself together in the extremity of his jealousy and threw a leap right out through the skylight of the hostel.

I could vault the vault too, said the hag and straightway she vaulted the same vault. And the short of it is this, that Sweeny travelled the length of five cantreds of leaps until he had penetrated to Glenn ne nEachtach in Fiodh Gaibhle with the hag at her hag’s leaps behind him; and when Sweeny rested there in a huddle at the top of a tall ivy-branch, the hag was perched there on another tree beside him. He heard there the voice of a stag and he thereupon made a lay eulogizing aloud the trees and the stags of Erin, and he did not cease or sleep until he had achieved these staves.

Bleating one, little antlers,O lamenter we likeDelightful the clamouringFrom your glen you make.

O leafy-oak, clumpy-leaved, You are high above trees, O hazlet, little clumpy-branch – The nut-smell of hazels.

O alder, O alder-friend, Delightful your colour, You don’t prickle me or tearIn the place you are.
O blackthorn, little thorny-one,O little dark sloe-tree;O watercress, O green-crowned,At the well-brink.

O holly, holly-shelter,O door against the wind,O ash-tree inimical,Your spearshift of warrior.

O birch clean and blessed,O melodious, O proud,delightful the tangleof your heard-rods.

What I like least in woodlandsFrom none I conceal it –Stirk of a leafy-oak,As its swaying.

O faun, little long-legs, I caught you with grips,I rode you upon your backFrom peak to peak.

Glen Bolcain my home ever,It was my haven,many a night I have trieda race against the peak.

(From fujifilmstudentawards.co.uk)

Book Extract 2

Further extract from my Manuscript wherein Mr Trellis commences the writing of his story: Propped by pillows in his bed in the white light of an incandescent petrol lamp, Dermot Trellis adjusted the pimples in his forehead into a frown of deep creative import. His pencil moved slowly across the ruled paper, leaving words behind it of every size. He was engaged in the creation of John Furriskey, the villain of his tale.

Extract from Press regarding Furriskey’s birth: We are in position to announce that a happy event has taken place at the Red Swan Hotel, where the proprietor, Mr Dermot Trellis, has succeeded in encompassing the birth of a man called Furriskey. Stated to be doing ‘very nicely’, the new arrival is about five feet eight inches in height, well built, dark, and clean-shaven. The eyes are blue and the teeth well formed and good, though stained somewhat by tobacco; there are two fillings in the molars of the left upperside and a cavity threatened in the left canine. The hair, black and of thick quality, is worn plastered back on the head with a straight parting from the left temple. The chest is muscular and well-developed while the legs are straight but rather short. He is very proficient mentally having an unusually firm grasp of the Latin idiom and a knowledge of physics extending from Boyle’s Law to the Leclanche Cell and the Greasepot photometer. He would seem to have a special aptitude for mathematics. In the course of a brief test conducted by our reporter, he solved a ‘cut’ from an advanced chapter of Hall and Knight’s Geometry and failed to be mystified by an intricate operation involving the calculus. His voice is light and pleasant, although from his fingers it is obvious that he is a heavy smoker. He is apparently not a virgin, although it is admittedly difficult to establish this attribute with certainty in the male.

Our Medical Correspondent writes:

The birth of a son in the Red Swan Hotel is a fitting tribute to the zeal and perseverance of Mr Dermot Trellis, who has won international repute in connexion with his researches into the theory of aestho-autogamy. The event may be said to crown the savant’s lifework as he has at least realized his dream of producing a living mammal from an operation involving neither fertilization nor conception.

(From fujifilmstudentawards.co.uk)

Book Extract 1

HAVING placed in my mouth sufficient bread for three minutes’ chewing, I withdrew my powers of sensual perception and retired into the privacy of my mind, my eyes and face assuming a vacant and preoccupied expression. I reflected on the subject of my spare-time literary activities. One beginning and one ending for a book was a thing I did not agree with. A good book may have three openings entirely dissimilar and inter-related only in the prescience of the author, or for that matter on hundred

Examples of three separate openings – the first: The Pooka MacPhellimey, a member of the devil class, sat in his hut in the middle of a firwood meditating on the nature of the numerals and segregating in his mind the odd ones from the even. He seated at his diptych or ancient two-leaved hinged writing-table with inner sides waxed. His rough long-nailed fingers toyed with a snuff-box of perfect rotundity and through a gap in his teeth he whistled a civil cavatina. He was a courtly man and received honour by reason of the generous treatment he gave his wife, one of the Corrigans of Carlow.

The second opening: There was nothing unusual in the appearance of Mr John Furriskey but actually he had one distinction that is rarely encountered – he was born at the age of twenty-five and entered the world with a memory but without a personal experience to account for it. His teeth were well-formed but stained by tobacco, with two molars filled and a cavity threatened in the left canine. His knowledge of physics was moderate and extended to Boyle’s Law and the Parallelogram of Forces.

The third opening: Finn MacCool was a legendary hero of old Ireland. Though not mentally robust, he was a man of superb physique and development. Each of his thighs was as thick as a horse’s belly, narrowing to a calf as thick as the belly of a foal. Three fifties of fosterlings could engage with handball against the wideness of his backside, which was large enough to halt the march of men through a mountain-pass.

I hurt a tooth in the corner of my jaw with a lump of the crust I was eating. This recalled me to the perception of my surroundings.

It is a great pity, observed my uncle, that you don’t apply yourself more to your studies. The dear knows your father worked hard enough for the money he is laying out on your education. Tell me this, do you ever open a book at all?

I surveyed my uncle in a sullen manner. He speared a portion of cooled rasher against a crust on the prongs of his fork and poised the whole at the opening of his mouth in a token of continued interrogation.
Description of my uncle: Red-faced, bead-eyed, ball-bellied. Fleshy about the shoulders with long swinging arms giving ape-like effect to gait. Large moustache. Holder of Guinness clerkship the third class.
I do, I replied.

He put the point of his fork into the interior of his mouth and withdrew it again, chewing in a coarse manner.

Quality of rasher in use in household: Inferior, one and two the pound.

Well faith, he said, I never see you at it. I never see you at your studies at all.

I work in my bedroom, I answered.

(From fujifilmstudentawards.co.uk)

Summary 2

The story of an Irish college student who - half to amuse himself and half to avoid work - writes an irreverent novel about the figures of Irish myth and legend in which characters come to life and riot against their author, At Swim is a wildly comic send-up of Irish literature and culture. O'Brien opened up a whole new world of possibilities for fiction and subsequent novelists have played with his zany ideas, chief among them being the idea that characters in fiction have earned the right to be "recycled" - after all, they've proven their reliability as characters! - not retired once their stories are finished.

The story of an Irish college student who -- half to amuse himself and half to avoid work -- writes an irreverent novel about the figures of Irish myth and legend in which characters come to life and riot against their author. At Swim-Two-Birds is a wildly comic send-up of Irish literature and culture and has had a major influence on writers coming after O'Brien, including Anthony Burgess, Gilbert Sorrentino, and William H. Gass.

(From Flipkart.com)

Summary 1

At Swim-Two-Birds presents itself as a first-person story by an unnamed Irish student of literature. The student believes that "one beginning and one ending for a book was a thing I did not agree with", and he accordingly sets three apparently quite separate stories in motion. The first concerns the Pooka MacPhellimey, "a member of the devil class". The second is about a young man named John Furriskey, who turns out to be a fictional character created by another of the student's creations, Dermot Trellis, a cynical writer of Westerns. The third consists of the student's adaptations of Irish legends, mostly concerning Finn Mac Cool and mad King Sweeney.

In the autobiographical frame story, the student recounts details of his life. He lives with his uncle, who works as a clerk in the Guinness Brewery in Dublin. The uncle is a complacent and self-consciously respectable bachelor who suspects that the student does very little studying. This seems to be the case, as by his own account the student spends more time drinking stout with his college friends, lying in bed and working on his book, than he does going to class.

The stories that the student is writing soon become intertwined with each other. John Furriskey meets and befriends two of Trellis's other characters, Antony Lamont and Paul Shanahan. They each become resentful of Trellis's control over their destinies, and manage to drug him so that he will spend more time asleep, giving them the freedom to lead quiet domestic lives rather than be ruled by the lurid plots of his novels. Meanwhile, Trellis creates Sheila Lamont (Antony Lamont's sister) in order that Furriskey might seduce and betray her, but "blinded by her beauty" Trellis "so far forgets himself as to assault her himself." Sheila, in due course, gives birth to a child named Orlick, who is born as a polite and articulate young man with a gift for writing fiction. The entire group of Trellis's characters, by now including Finn, Sweeney, the urbane Pooka and an invisible and quarrelsome Good Fairy who lives in the Pooka's pocket, convenes in Trellis's fictional Red Swan Hotel where they devise a way to overthrow their author. Encouraged by the others, Orlick starts writing a novel about his father in which Trellis is tried by his own creations, found guilty and viciously tortured. Just as Orlick's novel is about to climax with Trellis' death, the college student passes his exams and At Swim-Two-Birds ends.

(From Wikipedia)

The Book

Flann O'Brien's first novel is a brilliant impressionistic jumble of ideas, mythology and nonsense. Operating on many levels it incorporates plots within plots, giving full rein to O'Brien's dancing intellect and Celtic wit. The undergraduate narrator lives with his uncle in Dublin, drinks too much with his friends and invents stories peopled with hilarious and unlikely characters. O'Brien's blend of farce, satire and fantasy results in a remarkable, astonishingly innovative book.

‘At Swim-Two-Birds' has remained in my mind ever since it first appeared as one of the best books of our century. A book in a thousand ... in the line of Ulysses and Tristram Shandy’ - Graham Greene‘At Swim-Two-Birds' is both a comedy and a fantasy of such staggering originality that it baffles description and very nearly beggars our sense of delight’ - Chicago Tribune

(From fujifilmstudentawards.co.uk)

Initial reaction

The first reaction was; ‘oh no, not another book cover’, but needs must and it has to be done.

As with ‘Silent Springs’ the best starting point was to read and re-read all the information given, and to then scour the internet and other sources for more info on the publication. The plan was to read available summaries, take notes and then develop ideas of where to go from there.

Assignment Breif: Fujifilm competition

Penguin Books are looking for a new image to feature on the cover of At Swin Two-Birds. Your brief is to take a photograph that captures the spirit of the novel which, in the words of Anthony Burgess, ‘assaults your brain with words, style, magic, madness and unlimited invention’.

The image must be shot in Fujifilm Professional or Consumer film and must fit the new Modern Classics jacket layout.

Evaluation

All the research was about looking at those without money, which is probably the best wys to describe personal upbringing, making the best of what is there and going without what cannot be afforded.

This was going to be reflected in the images taken for this assignment. However through consideration it was decided not to follow this path and to just get one strong image of the interaction of both Brian and Alison. Although not having much did in some minor way affect upbringing, they both scarificed a lot and did all they can to raise their four children. And they did a good job.

Personal desires when it comes to photography is documenting people in need and gaining peoples attention in order to try to mobilise help for them. This could be applied, but it was decided that it would be unfair and unreasonable to do so.

All the planning and research was done within three days and the test shots were done soon after. The final image was taken after careful thought of how to show what little interaction there is between both parents.

The motivation to turn the assignment out quickly and effectively showed that it is possible to work quickly and produce quality research, continual development and a desirable final image.

There is time and opportunity to further develop the ideas, so if the chance arises and the ideas are developed, this will be added to.

Final images

(i) The TV does indeed control the household, everything stops when there is something on worth watching. There is no interaction unless necessary, unless something is needed or something needs to be said. In many ways it does reflect most households, where people are too used to watching the box that making their own entertainment through interacting with ones own family. The framing of the composition using the edited window frame works very well and the busyness of the image, through the reflections evident, adds to its appeal.





(ii) This is a rare insight into the lighter side of family life. A rare smile shared between parents. Normally life tends to be a bit of a resented struggle, with few reasons to be joyful. The viewpoint from which the image was taken suggests stepping back; looking more from the outside in. The two figures are framed by the door and the doorway becomes the focus because of the lines of the shadows and skirting boards. Not only does it show something about their relationship it shows enough of the house to gain an insight into living conditions.

Editing the images

The editing of the images was very straiht forward, very little could be done when it came to adjustments because of the low light levels used when shooting. When the slightest alteration was attempted on levels or contrast for example, there was a huge difference in how the image changed.

Both of the two final images were cropped and any imperfections were cloned out. For the kitchen composition it was burnt in a lot on the left side to shift the attention from the shelf and mirror onto the figures, it was then given a texture filter as if painted on canvas, to diguse the graininess of the image. The composition of watching TV was edited so that there was a fourth side to the window frame, rather than just the original three. A few reflections were cloned out but most were left in.

Results of shoots

The two shoots took abot half an hour each, because of all the planning and experimentation, it was just about staging or waiting for the right situation.

The tv shoot was simple, the idea behind it was to portray how ‘lost’ people do get when they are engorse in their viewing, all conversation and interaction seems to stop, as if there is no one else in the room.

The shoot in the kitchen was designed to look at my parents relationship, it is very rare that they do spend time with each other, there is always something to be done. Most of the interaction comes in passing, grabbing moments when the body is occupied but when the mind is free.

There were four images that stood out, they are all unedited:



(i) It is a srong image that suggests that he is being looked over, like he has to be kept an eye on to make sure he does the washing up right. She appears to be talking to his back while he is getting on with the washing up. Eventhough the compoositon appears warm and wlcoming through the colours on display, the body language of the figures appears cold and distant.




(ii) In this one Brian is looking round and smiling, suggexting that something amusing has bee revealed or a joke has been shared. The body language is no longer as cold as there is the interaction that was missing from the first composition, combine this with the warming colours, it seems a welcome, inviting set of cirumstances.




(iii) Watching the TV. Both stes of eyes are fixed on the box. There is no interaction whatsoever between the pair of them. They are both engrosed in whatever it is they are watching. With them sitting on separate piece of furniture is aso implies distance between them, not only in the physical, where they are sitting, sense. The relections in the window, of the car, lamposts and other houses do distract but it they are liked.

(iv) The same set up as before but this time the timer on the camera was used, and a few self-portraits with family were taken. Standing directly infront of the TV rather than at the peripheries meant being fully rather than partially lit. It looks odd, as if imposed over the last image reviewed. It is intreguing, but it was more a bit of fun. This idea cold be explored further, looking towards being ‘alone around family’.

The shoots

(i) Watching TV: The camera was set up outside on the front lawn on a ripod, at approximately 9pm. The composition was framed using the middle window frame. The figures were asked to sit and watch tv in their ‘usual’ chairs. The images were taken without any guidance of where to look or what to do, they were as natural as possible.

(ii) Looking into the kitchen: Inspired by the test shots the idea was to completely stage this shoot. Father Brian was asked to stand by the sink as if finishing the washing up, with mother Alison standing leaning, with the back against the door frame, as if chatting to Brian. The idea was to create a sillhotte, and to place Brian as the focus of the images.