Cecilia Vicuņa. SABORAMI. (Devon, England: Beau Geste Press, 1973). Limited edition: 250 copies.

Felipe Ehrenberg knew my work from El Corno Emplumado in Mexico, and invited me to produce a book for Beau Geste Press as soon as he heard I was in London. Originally I thought of doing a "Journal of Objects," a three dimensional record of my life in the city. Each day I did a precarious object made from debris collected from London streets. I began the journal in June l973, shortly after receiving the news of the first attempt to topple the Allende government in Chile. I thought of the journal as a way of killing three birds in one blow: by doing a magic work to prevent a military coup in Chile, I would carry out a revolutionary and aesthetic work at once. But a few days before going to press, the military coup took place in Chile anyway. It was September 11, l973. I knew in one instant that Chile would never be the same. I knew as well that my previous book, which was about to be published in Chile at the time, a manuscript of 100 pages of autobiographical poems would never see the light. So, I set out to create a compendium of the two projects in one: SABORAMI. As Felipe says in the foreword it became "the first howl of pain to emerge from the rubble of Chile's conscience," just two months after the coup.

The production of the book itself was carried out at Felipe's home and press in Devon. He lived in this huge 16th century farm, with his wife, kids and associates, and when you came to work in a book you shared in all chores. In other words I designed and translated the book with his help, and printed it myself, on mimeo and offset, under his guidance. Each one of the books became an "individual," with letters I had received from Chile, leaves from the garden, and paper from the pigsty.

—Cecilia Vicuņa