AUTODIDACTICA A Chronicle of Cars and Books

Autodidactica 3Autodidactica

Texts by Ellen Bass, Francisco X. Alarcón, Elba R. Sánchez, Yves Peyré, and
Guillermo Gómez-Peña
Letterpress, relief, and pochoir techniques with images by Enrique Chagoya, Robert Chiarito, Felicia Rice, and Ray Rice

Limited edition of 40
Scroll book with magnetic clasp: 9” x 49.5”
Box: 4”x 4” x 9”

Side 1
AUTODIDACTICA displays Felicia Rice’s evolving aesthetic concerns (typographic, illustrative, structural) and exploration of content (poetry and performance scripts from a range of constituencies with a primary focus on Latino culture), from 1980-2014. It begins with an excerpt from Ellen Bass’ FOR EARTHLY SURVIVAL, and includes reproductions of the pages from five subsequent books.

Side 2
Here Felicia’s drawings of her cars over the past decades are overprinted on a collage of encyclopedia pages. Each car has a story relating to the development of the press and its publications. These stories are presented in performance by Felicia Rice. Dates of upcoming performances to be announced.


Prints by Donald Weygandt
Poems by Tim Fitzmaurice, Madeline Moore, Eliane C. Roe, David Swanger

Print portfolio : six prints, portfolio box and chapbook

Chapbook of prints and poetry
Edition of 400
6 ” x 9″ 16 pages
ISBN 0-939952-21-1

Don Weygandt has achieved regional renown as both painter and printmaker. This recent work takes timeless everyday vessels such as pots, pitchers and vases as its subject. Colleague Douglas McClellan writes, “His touch is the touch of an angel but there is a mischief in it: a turn of a line, a slab of color, a push at an edge, an elusive asymmetry, any of these might connive the form to a surprising sense of delight….Each work has total authority and not a little magic.” Weygandt was a member of the arts faculty at UCSC from 1967––1991.

WEYGANDT / PRINTS is a series of six prints by Donald Weygandt which are presented in a portfolio box and accompanied by a limited edition chapbook. In May 1991 twenty numbered portfolios were published in association with the University of California, Santa Cruz. Half of these have been placed in private and institutional collections, including the Houghton Library, Harvard University.

Print Series 1-6 were printed on Rives BFK Cream paper and trimmed to 18″ x 18″. Each print was issued in an edition of twenty signed and numbered copies with ten artist’s proofs, two archival proofs, two studio proofs and twelve printer’s proofs.

Series 1.
This original lithograph was printed in black and cream, from two stones, by Lara Noelle Norman and Ethan Bryson under the direction of Janice Bridgman and Paul Rangell at Baskin Art Studios, University of California, Santa Cruz.

Series 2, 3, 4, and 5. Four intaglio plates were made by the artist and printed in black by Laura Edeen and Stacy Opdyke under the direction of Darien Payne and Kathryn Metz at Baskin Art Studios, University of California, Santa Cruz; Series 2: engraving and drypoint; Series 3: sugarlift, aquatint, engraving and drypoint; Series 4: soft ground, hard ground, etching and engraving; Series 5: hard ground and etching.

Series 6.
A linoleum cut was printed in black and silver, from two blocks by Sabrina Hall and Elizabeth Wallen under the direction of Felicia Rice at Greenhouse Review Press, Santa Cruz.

The portfolio box, covered with black Japanese book cloth shot with gold, is lined with a patterned paper designed by the artist. The boxes were made by Maureen Carey with Sabrina Hall, Felicia Rice and Elizabeth Wallen.
18″ x 18″ x 1″.

A chapbook, including three original prints and a statement from the artist, rests in a pocket inside the front cover of the portfolio. David Swanger, Tim Fitzmaurice, Eliane Corbeil Roe and Madeline Moore contributed poems inspired by Weygandt’s prints to this aspect of the publication. The chapbook was designed by Felicia Rice, handset in Garamond types and printed at Moving Parts Press.



Poems by Elba Rosario Sánchez and ten others
Drawings by José Antonio Burciaga

A collection of works by young Latino poets, from an evening of poetry sponsored by Elba Rosario Sánchez with Abigaíl Avelar, José Antonio Burciaga, Odilia Galván Rodríguez, Christina Grijalva, Gustavo A. Guerra Vásquez, Ana Maria Guevara, Rosita Lemus, Marco A. Martínez, Goretti Medrano and José Gabriel Solano.

ISBN 0-939952-17-3
5 1/2″ x 8 1/2″
28 pages

This series documents Chicano/Latino cultural events and readings in the form of inexpensive books which can be readily produced as needed using laser and letterpress printing.



The Poet as Printer:
William Everson & the Fine Press Artists’ Book
Edited by Felicia Rice

This book documents William Everson’s work with tributes, interviews, feature articles and poems by over 25 friends, colleagues and Everson scholars. It is illustrated with Everson broadsides, books and photo portraits dating from early and late phases of his career as poet and printer.

Essays, artists’ statements and reproductions from the 1995-98 traveling exhibition: “Dressing the Text: The Fine Press Artists’ Book” attempt to define the fine press artists’ book as a contemporary genre within the field of bookmaking.

ISSN 0736-4628
7 ” x 10″
122 pages



Poems and lithographs by Henri Michaux
Translation by Elizabeth R. Jackson

Trade edition
7″ x 9″ 184 pages
ISBN 0-939952-13-0
$24.95 out-of-print

This is just the way such books should be done…
—Mary Ann Caws, Distinguished Professor of English, French and Comparative Literature, Graduate School, City University of New York

Few French poets have been served as well by a translator/editor/book designer as is Henri Michaux in Elizabeth Jackson’s truly beautiful edition of the poet’s 1948 livre d’artiste, MEIDOSEMS.
—Marjorie Perloff, Professor of English and Comparative Literature, Stanford University

MEIDOSEMS is the story of an imaginary race, strange creatures, ectoplasmic in form, fragile yet resourceful. Michaux tells with sympathetic humor of their land, their customs, their irresistible penchant for metamorphosis. Yearning for peace, delight and freedom, they are prone to anxiety and subject to manifold existential threats. Following adventures, misadventures and unlikely dilemmas, they finally achieve their hearts’ desire: flight towards an empyrean haven. In MEIDOSEMS Michaux created text and image spontaneously, with thirteen quick, inky lithographs integral to his prose poem. This new edition replicates the original 1948 French livre d’artiste published by his associate and friend, René Bertelé. It also includes five previously unknown preliminary litho designs; a scholarly bibliography of Michaux’s many publications which integrate text and image; an original poem by contemporary French poet, Yves Peyré; and a preface by translator, E. R. Jackson. In this new edition MEIDOSEMS reaches out at last to the English-speaking world and we find we share Michaux’s postmodern sense of distress and delight.

Belgian by birth and French by choice, Henri Michaux was a true voyager in the realm of twentieth century expression. A contemporary of the Surrealists, he searched independently for a way to enter alternate worlds, both as a poet and as an artist. Born in 1899, at twenty-one he embarked as a sailor on a cargo ship, the beginning of a lifelong passion for travel. Returning to Paris, he started exploring his own identity in poetic projections such as Who I Was and Pen. In the 1930s and 40s he invented a mode of imaginary and real travel narratives. In the 1950s Michaux experimented with psychoactive drugs, resulting in works such as Turbulent Infinity. His genius as a writer was matched by his fervent and fanciful work as an artist. He died peacefully at his easel in 1984, brush close at hand. He was recognized in France throughout his lifetime as a creator, true to himself. His postmodern vision, MEIDOSEMS, joins a small number of illustrated texts by celebrated author/artists and ranks with Kandinsky’s Klang and Matisse’s Jazz.

Elizabeth R. Jackson, Professor Emerita from San Diego State University, brings fresh perspective to this first English translation of MEIDOSEMS. She has published extensively works on French poetry and the French modern novel. Among these is a translation of selected texts by the Surrealist poet, Benjamin Péret, A Marvelous World. For this English edition of MEIDOSEMS, the French Minister of Culture generously awarded a Translation Subsidy.

Among the crowning achievements of the twentieth-century book are the French livres-d’artiste, specially produced limited editions integrating the visual and poetic text. This series of publications interprets the original French livres d’artiste for contemporary audiences.





Poems by Elba Rosario Sánchez and seventeen others
Drawings by Robert Chiarito

This collection celebrates an evening of poetry curated by Elba Rosario Sánchez with Abigaíl Avelar, María-Antonieta Avila, Liliana Batista, Victorino Cervantes, Mónica González-Márquez, Christina Grijalva, Ana María Guevara, Elisabeth Gutiérrez, Marisol Guzmán, Alejandra Elite Marcandonatos, María Menjívar, Cherrí Moraga, Pablo Reguerín, Nancy Rodríguez y Clarissa Rojas. Co-published with Baytree Bookstore, UCSC.

ISBN 0-939952-19-x
5 1/2″ x 8 1/2″
32 pages

This series documents Chicano/Latino cultural events and readings in the form of inexpensive books which can be readily produced as needed using laser and letterpress printing.

An excerpt from FIVE HYMNS TO PAIN


Text by Nazik al Malaika
Translation into English by Hasain Haddawy
Letterpress, relief and hand printing techniques by Felicia Rice

Limited edition of 25
Scroll book: 8” x 44.75”
Box: 4”x 4” x 9”

On March 5th, 2007, more than 30 people were killed when a car bomb was exploded on Mutanabbi Street, an old and established street for bookselling in the heart of Baghdad’s literary and intellectual community. To protest the bombing, the Mutanabbi Street Coalition, a group started by San Francisco poet and bookseller Beau Beausoleil, organized readings and invited letterpress printers to produce broadsides by Iraqi poets and writiers. Moving Parts Press contributed An Excerpt from Five Hymns to Pain by Nazik al-Malaika.

An Excerpt from Five Hymns to Pain is dedicated to the literary and intellectual community of al-Mutanabbi Street, Baghdad. The poem was written by one of the most influential contemporary Iraqi female poets, Nazik al-Malaika (1923-2007), and translated by Husain Haddawy. The selection of this excerpt was facilitated by Beau Beausoliel of the al-Mutanabbi Street Project. The book was designed and printed at Moving Parts Press by Felicia Rice with the assistance of Stephen Acerra and Maren Preston in one week in August 2012.

The presentation of this fierce and moving poem as a scroll grew out of my desire to print the entire book on one side of a single sheet. As the project developed, the choice of paper (Japanese Hosho) led to another, the choice of typeface (Garamond italic), and finally to the color palette (dun colors accented with red) and image creation (printed and laid down by hand with a brayer). A desert landscape emerged, sliced at regular intervals by sharp black vegetation. On Monday the book was to be in an accordion-fold format, but by Friday it became clear to all three of us that the piece was a facsimile of a papyrus scroll.

Al-Mutanabbi Street Starts Here: Poets and Writers Respond to the March 5th, 2007, Bombing of Baghdad’s “Street of the Booksellers”is a trade edition edited by Beau Beausoleil and Deema K. Shehabi from PM Press. This anthology begins with a historical introduction to al-Mutanabbi Street and includes the writing of Iraqis as well as a wide swath of international poets and writers who were outraged by this attack. Many of the texts were interpreted as broadsides in the first Mutannabi Street Coalition series in 2007. Moving Parts Press contributed the broadside, Destinies.




Excerpt from POST OFFICE by Charles Bukowski

Size: 2.75″ x 3.25″
Second printing: $50

“I printed the book to give out to all my fellow carriers as I was leaving the post office where I’d been working for six months. The post master was celebrated for his irrational and cruel abuse of authority. I can still go in to that office and mention his name to the clerks at the counter, or to a carrier on the street, and they know exactly who Polzine is and his reputation. I believe he went on to head up one of those post offices where one of first the shootings took place. I have always understood “going postal.” Any organization which requires employees to wear uniforms is a paramilitary organization, and the post office is populated by vets whose consciousness and understanding of power was established during the Vietnam War. It can be a dangerous place. Trained from the age of 5 to view the “Mail Man” as a friendly and helpful, most patrons fail to recognize a hostile carrier. I know, I tried to share my bad attitude and received high fives and smiles all along my route.

It is not a miniature book (which are ludicrous), but a “palm book.” In the early years of the Labor Movement in this country, workers needed to pass information secretly, so small books were made to pass from hand to hand out of sight of the bosses. We were watched constantly in the P.O. and this violation of privacy immediately set up an us-them dynamic in which workers were there to rip off the bosses by stealing and cheating. What else do workers do?”

Felicia Rice

First printing: “I have a list of numbers up to 40 with names of who got what copy. There are numbers without names and a few names without numbers and scribbled addition equaling 63 on the back. Betcha there were 63 of this, with 40 numbered copies. Apparently I didn’t maintain the record after a certain point.” FR
Second printing: 50

Printed by Felicia Rice on a Vandercook proof press in Intertype Times Roman and handset Franklin Gothic.

Drawings from Mendocino Beacon newspaper for a local production of “Oliver,” acquired with 1906 Colts Armory letterpress in 1978.

First printing: 12 unpaginated leaves
Second printing: 14 unpaginated leaves

First printing: Printed in black on handmade white German Hayle paper, offcuts from Wm. Everson’s ‘fine book’ “Granite & Cypress” by Robinson Jeffers. Former apprentices did various things with the offcuts of that gorgeous sheet.
Second printing: Printed in black on off-white Lana Laid paper, offcuts from the Moving Parts Press project at the time, “Blue Hooks in Weather” by Christopher Buckley.

First printing: Hand sewn with white thread and wrapped in blue and black mottled paper (a cheap sheet I had picked up in Holland, like an old-fashioned blank journal cover) by Feliciia Rice. Label attached to the front cover. Second printing: Hand sewn with white thread and wrapped in varnished Moriki burgundy paper by Felicia Rice. Label attached to the front cover.

First printing: “Mutant Drone Press | April Nineteen Eight-two”
Second printing: “Mutant Drone Press | First printing: April Eighty-two | Second printing: June Eighty-four”

Mutant Drone Press, the one-and-only wholly-owned subsidiary of Moving Parts Press





Poems by Juvenal Acosta, Mario Angel Quintero, Alfred Arteaga, Carmen Rosello
Drawings by Jennifer Cordery

This collection is taken from the MACLA Broadside Series, a collaboration with four visual artists: Jennifer Cordery, Carmen León, Diego Marcial Ríos, and Gustavo Ramos Rivera Originally presented in conjunction with an exhibit at MACLA, the Mexican-American Center for the Latino Arts and Culture, San José, CA.

ISBN 0-939952-18-1
5 1/2″ x 8 1/2″
20 pages

This series documents Chicano/Latino cultural events and readings in the form of inexpensive books which can be readily produced as needed using laser and letterpress printing.



Poems by Nathaniel Mackey
Images based on the sculpture of Doyle Foreman

Edition of 150, signed and numbered
6 1/2″ x 14 1/2″
24 pages
ISBN 0-939952-16-5

First to be born were the Yeban, small creatures with big heads, discolored bodies, and frail limbs who, for shame of their condition, hide in the holes of the earth. They coupled and gave birth to the Andoumboulou, who are even smaller than they are…. Thus, the earth’s interior became slowly populated with these beings…
—Marcel Griaule and Germaine Dieterlen, THE PALE FOX

Published in association with the University of California, Santa Cruz, Song of the Andoumboulou: 18­–20 is a fine press artists’ book forged from the poetry of Nathaniel Mackey and the sculpture of Doyle Foreman. The poems comprise three installments from Mackey’s ongoing serial work, “Song of the Andoumboulou,” whose title is drawn from ritual music of the Dogon in Mali. Mackey’s poems project African and Iberian ceremonial figures and jazz iconography onto a rhythmic understructure, creating a vehicle that journeys through elemental landscapes reminiscent of Foreman’s bas-relief compositions. This movement is reflected in the book where the poems are typeset to dance down each page, suggesting multiple readings.

Poet and critic Nathaniel Mackey, was a professor of literature at UCSC between 1979–2010. He has been the editor/publisher of the literary magazine Hambone since 1982, and won the National Book Award for Poetry in 2006. He is currently a professor at Duke University. Mackey previously worked with book artist and publisher Felicia Rice as part of Moving Parts Press’ 1991 Porter Broadside Series. That collaboration produced a pairing of Mackey’s Song of the Andoumboulou: 8 with lithographer Paul Rangell’s imagery.

Doyle Foreman, professor of art at UCSC, taught clay and bronze sculpture, and African art there beginning in 1968. His bronze, bas-relief sculptures use forms drawn from nature. Rather than producing copies of his subjects, Foreman captures their spirit and feeling by presenting his imagery in intimate natural relationships.

Foreman and Mackey’s acquaintance dates back to the ’70s, to the Yardbird Publishing Cooperative, an association of Afro-American writers, artists, scholars and businessmen. Between the forms and geometry of Foreman’s sculpture and his own poetic forms Mackey sees “a poetic rapport.” Says Mackey: “The appearance in the first poem of Ogun, the West African orisha or god of iron and metal-working, relates in my mind to Doyle’s working in metal and his travels in West Africa.” The relationship between Foreman’s bronze casting and letterpress printing intrigued Rice. “While bas-relief, bronze-casting begins with a two dimensional flat surface and results in a three-dimensional sculpture,” explains Rice, “relief printing pulls an image from a three-dimensional plate onto the flat of the printed page. This inversion, this mirroring is reflected in the images within the book.