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                <text>&lt;b style="font-style:italic;"&gt;Un appello agli Italiani &lt;/b&gt;[An&lt;b style="font-style:italic;"&gt; &lt;/b&gt;Appeal&lt;b style="font-style:italic;"&gt; &lt;/b&gt;to Italians].&lt;b&gt; [New York]: L'Unità del Popolo, [1942.]&lt;/b&gt;</text>
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                <text>&lt;em&gt;&lt;b&gt;La produzione: Le sue basi-I suoi mezzi, Le sue funzioni, I suoi scopi &lt;/b&gt;&lt;/em&gt;[Production: its bases, its means, its functions, its scope].&lt;strong&gt; Newark: L'Adunata dei Refrattari, 1942.&lt;/strong&gt;</text>
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                <text>&lt;p&gt;Gold O’Bay was one of several pseudonyms used by Tintino Rasi (b. Genoa, 1893; d. Philadelphia, 1963). &lt;br /&gt;&lt;br /&gt;Rasi was an anarchist at an early age in Genoa, where he was under constant surveillance by the police for his political activities. In 1921, along with Renzo Novatore, whose work is also in the Collection, he edited the anarcho-individualist and futurist journal &lt;em&gt;Vertice&lt;/em&gt;. During the 1930s, he wrote for &lt;em&gt;L’Adunata &lt;/em&gt;&lt;em&gt;dei Refrattari &lt;/em&gt;in Newark. in 1938, he settled in Philadelphia, and collaborated with Virgilio Gozzoli in New York in anti-fascist activities.&lt;/p&gt;
&lt;p&gt;These are the first three journals in a series covering social issues. The first pamphlet introduces itself as the first series of journals or notebooks, &lt;em&gt;quad- erni&lt;/em&gt;, as “&lt;em&gt;Quaderni sui problemi sociali&lt;/em&gt;”  (Notebook  of  Social  issues),  and states that each will address a separate social issue of “our time.” Each volume promotes the Galleanisti anarchist newspaper, &lt;em&gt;L’Adunata &lt;/em&gt;&lt;em&gt;dei  Refrattari, &lt;/em&gt;on the rear cover.&lt;/p&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;&lt;span&gt;La figlia dell'anarchico: Dramma sociale in tre atti. &lt;/span&gt;&lt;/strong&gt;&lt;/em&gt;&lt;strong&gt;&lt;span&gt;Jessup, PA: Gruppo Autonomo, 1928.&lt;/span&gt;&lt;/strong&gt;</text>
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                <text>Nena Becchetti</text>
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                <text>Becchetti was one of several women radicals who wrote plays to reflect their political views, including that of the emancipation of women. These plays were often at the center of leisure activities of radicals (replacing religiously themed events) celebrated in Marcella Bencivenni's &lt;em&gt;Italian Immigrant Radical Culture&lt;/em&gt; and Jennifer Guglielmo's &lt;em&gt;Living the Revolution&lt;/em&gt;. Becchetti was a worker in Jessup, PA, where this work was published.&lt;br /&gt;&lt;br /&gt;This play centers on eight immigrant women - four mothers (including a contessa and baronessa) and their daughters - staging the pain and poverty under which they, and so many other immigrants, lived, but which also "shouted with the spirit of hope." &lt;br /&gt;&lt;br /&gt;The preface by the Gruppo Autonomo, while celebrating the play for its realism, also notes that in publishing the work, the Gruppo is "not pretending to present a masterpiece of art and literature." This is consistent with radical theater's avowedly didactic purposes, a more powerful way for workers to grasp the conflict with capitalism than by being lectured to.</text>
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                  <text>&lt;em&gt;Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals&lt;/em&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;A Talk Between Two Workers. &lt;/strong&gt;&lt;/em&gt;&lt;strong&gt;Oakland: Man!, 1933.&lt;/strong&gt;</text>
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                <text>This is the rare work in English in the collection (although I have a large number of works in English) because it is clearly a translation of a work of Malatesta's written in Italian, and following a well-worn formula of workers talking to each other, educating each other, as a pedagogical tool, rather than a speaker or writer more abstractly discussing political issues.&lt;br /&gt;&lt;br /&gt;Note the stamp of the bookseller who had this pamphlet available for sale: the Industrial Unionist Bookshop, at 96 East 10th Street in New York. No publication information.&lt;br /&gt;&lt;br /&gt;My information about publisher name, place of publication and date all derive from copies available for sale on the internet, which all bear the 1933 date, and have a drawing of Malatesta on the cover, and noting preface by Aurora Alleva, that is lacking in this copy.&lt;br /&gt;&lt;br /&gt;The New York Public Library, however, has a copy of this work published in London in a presumed publication in the early 1900s.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Amici Italo-Americani!&lt;/strong&gt;&lt;/em&gt; [Italian-American &lt;strong&gt;Friends!]. New York: Commissione Italiana del&lt;span&gt; Comitato Statale di New York del Partito Comunista &lt;/span&gt;&lt;/strong&gt;[April 1942]</text>
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                <text>On[orevole]. Pietro V. Cacchione</text>
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                <text>There is no printed date on this two-sided, all in Italian, handbill signed by Peter - sometimes "Pietro" - Cacchione, the first member of the New York City Council who was a registered Communist Party USA, but a date "April 1942" is handwritten on the last of four pages of this handbill in folio format. &lt;br /&gt;&lt;br /&gt;The use of "Onorevole"- "The Honorable" - follows the American practice of using that term as a prefix to the names of elected officials, whether in the U.S. Congress or even of local offices.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Antinatale&lt;/strong&gt;&lt;/em&gt; [AntiChristmas]. &lt;strong&gt;New York: Biblioteca "Novatore" No. 4, [1910].&lt;/strong&gt;</text>
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                <text>Libero Tancredi was the journalistic pseudonym of Massimo Rocca (b. Torino 1884 - d. Salò 1973). This work dates from Rocca's youth, when he wrote for anarchist and syndicalist newspapers. However, by the beginning of 1920, he flirted with and then fully embraced fascism, writing for &lt;em&gt;Il Popolo d'Italia&lt;/em&gt; when that newspaper was directed by Mussolini. &lt;br /&gt;&lt;br /&gt;In 1923, he co-founded, with Giuseppe Bottai, an important fascist hierarch, the magazine &lt;em&gt;Critica fascista&lt;/em&gt;.&lt;br /&gt;&lt;br /&gt;The Collection contains another work by Tancredi: &lt;em&gt;Dio e patria: nel pensiero dei rinnegati.&lt;/em&gt; New York: [n.p.], [c. 1924-1925].&lt;strong&gt; &lt;span style="font-weight:400;"&gt;There, the second essay recounts a religious debate between Tancredi and a priest in Providence, R.I., on December 11, 1910, likely the same year as the publication of this work.&lt;/span&gt;&lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;This copy is notable because it bears a prized stamp for a collector interested in the first women's bookstore and publisher among the Italians: the stamp of "Libreria Editrice | ELVIRA CATELLO|1946 First Avenue, New York City…." See discussion of Elvira Catello's life and work in the description of Tomaso Concordia's &lt;em&gt;Argomenti libertari&lt;/em&gt;.&lt;br /&gt;&lt;br /&gt;The "Novatore" of the Biblioteca "Novatore" is presumably Renzo Novatore, author of works published posthumously in &lt;em&gt;Verso la nulla creatore&lt;/em&gt;, q.v.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Casa Savoia, Vol. II&lt;/strong&gt; &lt;/em&gt;[House of Savoy, Vol. II]. &lt;strong&gt;East Boston: &lt;span&gt;Ediz. de "L'Aurora"&lt;/span&gt;, 1929.&lt;/strong&gt;</text>
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                <text>A good example of the international nature of anarchism is reflected in the changing places of publishing of different volumes of the same work: &lt;em&gt;Casa Savoia, Vol. I&lt;/em&gt; was published but in Buenos Aires in 1927, two years before the publication of this Volume II was published in Boston. You can see an advertisement for it in the inside back cover of another Buenos Aires publication in the Collection (as of December 2023 uncatalogued), from 1927, Pietro Gori's &lt;em&gt;La donna e la famiglia&lt;/em&gt; (Ed. di propaganda Culmine).  &lt;br /&gt;&lt;br /&gt;And though &lt;em&gt;published&lt;/em&gt; in East Boston in the U.S., this Volume II was actually &lt;em&gt;printed&lt;/em&gt; in France: on the recto of the rear free endpaper is the colophon "Imprimerie Commerciale de la Tribune Républicaine, Saint-Étienne." &lt;br /&gt;&lt;br /&gt;&lt;em&gt;L'Aurora&lt;/em&gt; was founded in 1899 in West Hoboken by Giuseppe Ciancabilla. The Collection includes a biography of him by Ugo Fedeli, q.v., as well as other works with connections to him.&lt;br /&gt;&lt;br /&gt;Schicchi (b. Colesano, Sicily, 1865 - d. Palermo, 1950) was, like so many of the leading anarchists, very much part of an international movement. He engaged in lively polemics in Italy with two of the greatest of the anarchists, namely, Errico Malatesta and Pietro Gori. In addition to being active in Italy, Schicchi was also for some time active in France, working with Sebastien Faure, whose work is also reflected in the Collection, q.v.&lt;br /&gt;&lt;br /&gt;In the U.S., he wrote for &lt;em&gt;La Comune&lt;/em&gt; of Philadelphia and Galleani's &lt;em&gt;La Cronaca Sovversiva&lt;/em&gt;, then published in Barre, VT. &lt;br /&gt;&lt;br /&gt;The Collection contains a work in Italian which in English is a report of the trial of Schicchi before the Court of Assizes in Viterbo, q.v.&lt;br /&gt;&lt;br /&gt;There are biographies of this colorful anarchist by Renato Souvarine, Filippo Gramignano and Nicola Schicchi.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Dibattito sulla "Esistenza di Dio" tra il Rev. Amedeo Santini e il Prof. Giuseppe Bertelli&lt;/strong&gt;&lt;/em&gt; [Debate on the "Existence of God" between the Reverend Amedeo Santini and Professor Giuseppe Bertelli]. &lt;strong&gt;Chicago: Italian Labor Publishing Co., 192-.&lt;/strong&gt;</text>
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                <text>Anti-clericalism was a parallel theme for the political theories and principles of socialists and anarchists. They rejected the Church and its teachings, and substituted for the religious celebrations and feast days of the majority of their fellow Italian immigrants.&lt;br /&gt;&lt;br /&gt;Bertelli (b. Empoli, Italy 1869 - d. Chicago 1943) features prominently in Durante, with six poems of his in translation. A more colorful life could hardly be found. Bertelli enlisted in the French Foreign Legion in Algiers in 1887 but deserted a year later, entering the Italian Royal Army. Back in Empoli in 1893, he joined the Partito Socialista Italiano and edited &lt;em&gt;Il pioniere. &lt;/em&gt;He edited socialist newspapers in Venice and Trieste. Emigrating to the U.S., he joined the Federazione Socialista Italiana, supported by the Socialist Labor Party. He was successor to Carlo Tresca as editor of &lt;em&gt;Il Proletario&lt;/em&gt;, q.v. in the Collection. &lt;br /&gt;&lt;br /&gt;Bertelli was the author of several socialist/anti-clerical tracts published in the U.S., including &lt;em&gt;In difesa di Giordano Bruno contro un parroco italiano&lt;/em&gt;, printed about a decade before by &lt;em&gt;La Parola dei Socialisti&lt;/em&gt;, also in Chicago, q.v. &lt;em&gt;La Parola&lt;/em&gt; in the Collection; and &lt;em style="font-style:italic;"&gt;G&lt;/em&gt;e&lt;em&gt;sù Cristo, i preti e noi&lt;/em&gt;, published in Philadelphia about the same time by the Tipografia cooperativa socialista (but listed in the catalogue, below); and an earlier work, also a debate, with one Murri, published in Firenze, entitled &lt;em&gt;La chiesa e il collettivismo&lt;/em&gt;. &lt;br /&gt;&lt;br /&gt;Indeed, the current work and three others by Bertelli are items 22 through 25 in the catalogue of the &lt;em&gt;Libreria Sociale de La Parola"&lt;/em&gt; which is also in the Collection, q.v. That catalgoue contains several other works that are in the Collection, for example, Vincenzo Vacirca's &lt;em&gt;La Russia in fiamme,&lt;/em&gt;q.v.&lt;br /&gt;&lt;br /&gt;Bertelli's argument, according to the Preface, is that the existence of God cannot be demonstated, and reflects the evolution of his thinking from his earlier publications. Durante has a good discussion in his biographical entry generally about Bertelli, but including contemporary evaluations of him by other socialists, not always flattering.&lt;br /&gt;&lt;br /&gt;Of Santini, we know only that he was a priest on the opposite side of the debate.&lt;br /&gt;&lt;br /&gt;Consistent with its being in the catalogue of &lt;em&gt;La Parola&lt;/em&gt;'s Libreria Sociale, this work was first been published in &lt;em&gt;La Parola del Popolo&lt;/em&gt; in Chicago, a newspaper that went through many name changes to evade censorship and the proscription of mailing, q.v. discussion in the anniversary issue of &lt;em&gt;La Parola&lt;/em&gt;.</text>
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                <text>Nunzio was the pseudonym of Mike Salerno, who edited &lt;em&gt;L'Unita Operai&lt;/em&gt;, a Communist newspaper.&lt;br /&gt;&lt;br /&gt;It is curious to me that there was a Bronx County chapter of the Italian Communist Party in America, rather than just, say, a New York City chapter.&lt;br /&gt;&lt;br /&gt;Note that most of the flyer's text is in English, though the led is in Italian.</text>
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                <text>&lt;em&gt;&lt;strong&gt;L'attentato di Matteo Morral&lt;/strong&gt; &lt;/em&gt;[The Attempt on Matteo Morral].&lt;strong&gt; East Boston: Gruppo Autonomo, [1910?]&lt;/strong&gt;</text>
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                <text>This is the Italian-language version of a French anarchist's perspective on the Morral affair, an attempted assassination of the &lt;span&gt;Spanish King &lt;/span&gt;&lt;span&gt;Alfonso XIII and his bride, &lt;/span&gt;&lt;span&gt;Victoria Eugenie, on their wedding day, May 31, 1906&lt;/span&gt; by Mateu Morral, who threw a bomb from a balcony, killing 24 bystanders without harming the royal procession.&lt;br /&gt;&lt;p&gt;Two days after the attack, militiamen accosted Morral, who killed one before killing himself. Morral was likely involved in a similar attack on the king a year prior.&lt;/p&gt;
&lt;p&gt;The affair became a pretext to stop Francisco Ferrer,  an anarchist pedagogue who ran Escuela Moderna, the influential, rationalist, antigovernment, anticlerical, antimilitary, Barcelonean school in whose library Morral worked.&lt;span&gt; &lt;/span&gt;&lt;/p&gt;
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                <text>&lt;em&gt;&lt;strong&gt;Le idee chiare destano le oscure&lt;/strong&gt;&lt;/em&gt; [Clear Ideas Provoke Obscure Ones]. &lt;strong&gt;The Bronx: Bronx Italian American Press, [n.d.]&lt;/strong&gt;</text>
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                <text>A philosophical work analyzing the "problem" of anarchism, noting that it's not political or economic, but rather ethical, psychological and educational, with Emmanuel Kant, Frederick Nietsche, and Max Stirner discussed just in the first few pages. &lt;br /&gt;&lt;br /&gt;There are many publishing claimants for this work: "Edito dal gruppo 'Luce'" on verso of title page; "Morgillo Press 305 E. 115th St. New York" stamped upside down obscuring the printed "Bronx Italian American Press"; on rear cover, "send orders with expected imports to Casa editrice 'Luce', 319 E. 151st St."&lt;br /&gt;&lt;br /&gt;N. Morgillo was the publisher of works as early as 1909 (&lt;em&gt;La via del Paradiso&lt;/em&gt;) and as late as 1951 (&lt;em&gt;Ricciardiana&lt;/em&gt;), either under his own name or under the name of Eloquent Press.&lt;br /&gt;&lt;br /&gt;I have found nothing about Rowackisex or the Gruppo "Luce."</text>
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                  <text>&lt;em&gt;Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals&lt;/em&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Lettera Aperta: al Diffamatore Ettore Patrizi, Direttore-Proprietario del giornale "L'Italia" di San Francisco, Cal.&lt;/strong&gt;&lt;/em&gt; [Open Letter: to the defaming Ettore Patrizi, Director-Owner of the newspaper "L'Italia" of San Francisco, California]. &lt;strong&gt;Sacramento: 1911.&lt;/strong&gt;</text>
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                <text>This is a broadside that calls itself an "open letter" that is a complaint by the "subversives of Sacramento, California" about an article in the &lt;em&gt;prominente&lt;/em&gt; newspaper owned and directed by Ettore Patrizi in San Francisco, &lt;em&gt;L'Italia.&lt;/em&gt; The article was critical of the old companions of the international socialist Amilcare Cipriani, who protested against Patrizi for all the calumnies and lies he perpretated.</text>
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                  <text>&lt;em&gt;Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals&lt;/em&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Memorie Autobiografiche &lt;/strong&gt;&lt;/em&gt;[Autobiographical Memoirs]. Transl. by Luigi Galleani. &lt;strong&gt;New York: A. Salsedo, 1929.&lt;/strong&gt;</text>
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                <text>This is a translation from the French of the autobiography of Clement Duval, a French anarchist and thief, whose sentence upon conviction was commuted from death to imprisonment in French Guyana, but escaped and made his way to New York, remaining there for the rest of his life, shletered by Galleanists.&lt;br /&gt;&lt;br /&gt;His story was recounted in &lt;em&gt;Papillon&lt;/em&gt;, a popular work which, shorn of Duval's politics, was made into a successful film. Luigi Galleani translated the work from the French. This copy belonged to O[svaldo] Maranghia, who wrote his name as owner on the front free endpaper; he was an editor of &lt;em&gt;L'Adunata dei Refrattari&lt;/em&gt;.&lt;br /&gt;&lt;br /&gt;This was intended to be the first volume in a series, but Salsedo only produced one volume. A complete edition did not appear until more than a decade later. &lt;br /&gt;&lt;br /&gt;The publisher, Andrea Salsedo, was a Sicilian immigrant, part of Galleani's group with Sacco and Vanzetti. In 1920 he was arrested by the Justice Department's Bureau of Investigation (as the FBI was then called) on suspicion of involvement in a bombing conspiracy. He was interrogated, incommunicado, for weeks on an upper floor at 15 Park Row in New York. &lt;br /&gt;&lt;br /&gt;On May 3, 1920 he plummeted from the window to the street below. Some accused the authorities of "suiciding" him; an alternate theory is that under torture he eventually surrendered the names of his accomplices, and out of shame, he leaped to his death voluntarily. Only days after his death Sacco and Vanzetti were arrested.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Militarismo e miseria: dramma in 3 atti&lt;/strong&gt; &lt;/em&gt;[Militarism and Misery: drama in three acts]. &lt;strong&gt;Brooklyn: Tip. Guerriero, 1916.&lt;/strong&gt;</text>
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                <text>The action of this anti-war play unfolds in a little town in northern Italy during the "giornate rosse [Red Days]" of June 1914. The play was presented for the first time at the Filodrammatica Sovversiva di New York [Subversive Amateur Dramatic Society], at Caecilia Hall in Brooklyn, on January 9, 1916, "con grande successo [with great success]."&lt;br /&gt;&lt;br /&gt;Giovanni Onesti (who published as "J" Onesti, presumably for the English version of his name, "John") was attached to the Gruppo Pietro Gori. He makes a "confession" at the outset to explain why the last scene of the first act resembles another play, "Reduce a Tripoli."&lt;br /&gt;&lt;br /&gt;The play was received enthusiastically by Italian Americans in, among other places, New London, Connecticut, according to Richard Lenzi in &lt;em&gt;Facing the Dawn: Italian Anarchists in New London&lt;/em&gt; (2019).&lt;br /&gt;&lt;br /&gt;The collection contains no other imprints of the "Tipografia Guerriero" of 703 Lorimer Street in Brooklyn, nor have I seen its name as printer or publisher of Italian-language imprints, including in the vast holdings of the Anderson Library of the Immigration History Research Center (IHRC). There existed a "Tipografia Guerriero Guerra" in Perugia in the 1940s, but that cannot be the same publisher.</text>
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                  <text>&lt;em&gt;Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals&lt;/em&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Organizzazione e anarchia&lt;/strong&gt;&lt;/em&gt; [Organization and Anarchy]. &lt;strong&gt;Paris: L. Chauvet, [1927?]&lt;/strong&gt;</text>
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                <text>That the story of the transnational work of a figure like Malatesta was written in Italian, published in New York, and printed in Paris by an Italian printer, Tipografia Sociali, is testimony to the international nature of the anarchist movement. &lt;br /&gt;&lt;br /&gt;Malatesta (see also &lt;em&gt;Al caff&lt;span style="font-family:'nunito sans';font-size:18px;"&gt;è&lt;/span&gt;&lt;/em&gt;) (b. Caserta 1853-1932) was the most important Italian anarchist of this era. Borghi and Galleani were his proteges. A spellbinding orator, Malatesta traveled to and was respected throughout the Italian anarchist world, in Europe, and in North and South America. &lt;br /&gt;&lt;br /&gt;He differed from Galleani in at least one important respect: unlike the latter, &lt;span&gt;Malatesta believed that while anarchists could not be syndicalists, they could use syndicalist tactics to achieve their goals, and thus could have a role in the development of the Industrial Workers of the World (see works of Faggi, De Ciampis (&lt;/span&gt;&lt;i&gt;&lt;span&gt;Il Proletario&lt;/span&gt;&lt;/i&gt;&lt;span&gt;&lt;span&gt;), Ebert, Vincent St. John, Giuseppe Cannata, Meledandri, Buttis and others in the Collection). &lt;br /&gt;&lt;br /&gt;N&lt;/span&gt;&lt;/span&gt;evertheless, Malatesta was a committed revolutionary. He believed that the anarchist revolution was inevitable and that violence would be a necessary part of it since the state rested ultimately on violent coercion. As he wrote in his article "The Revolutionary 'Haste'" (&lt;em&gt;Umanita Nova&lt;/em&gt;, number 125, 6 September 1921): "to achieve this end [of everyone being socially conscious], it is necessary to provide all with the means of life and for development, and it is therefore necessary to destroy with violence, since one cannot do otherwise, the violence which denies these means to the workers." However, Malatesta himself denounced the use of terrorism and violent physical force.&lt;br /&gt;&lt;br /&gt;&lt;p&gt;The preface is by Amilcare Cipriani (b. Anzio 1844- d. Paris 1918), who fought with Garibaldi (and later with Garibaldi's son) in many venues. &lt;span&gt;He was elected deputy of the new Italian Chamber of Deputies&lt;/span&gt;&lt;span&gt; (and subsequently re-elected eight times) &lt;/span&gt;&lt;sup id="cite_ref-nyt290518_4-1" class="reference"&gt;&lt;/sup&gt;&lt;span&gt;but was unable to claim his seat because he refused to swear an oath of allegiance to the King&lt;/span&gt;&lt;span&gt;. In 1891, he was among the delegates to the conference which established the short-lived Socialist Revolutionary Anarchist Party.&lt;/span&gt;&lt;/p&gt;</text>
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                  <text>&lt;em&gt;Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals&lt;/em&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Orgoglio Funesto: dramma in tre atti del Prof. Angelo Ciccarelli; Qualcuno Guastò La Festa: dramma in un atto di Louis Marsolleau&lt;/strong&gt;&lt;/em&gt; [Fatal Pride: drama in three acts of Prof. Angelo Ciccarelli; Someone Spoiled the Holiday, drama in one act of Louis Marsolleau]. &lt;strong&gt;Brooklyn: Libreria del Proletario/ Tip. International Press of Brooklyn, 1905.&lt;/strong&gt;</text>
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                <text>&lt;br /&gt;From the cover, it appears that what unites these two different plays (by different playwrights) is that they both are of the "teatro sociale" [social theater]. &lt;br /&gt;&lt;br /&gt;There is nothing in Flamma, Schiavo or Durante about Professor Ciccarelli or his play.&lt;br /&gt;&lt;br /&gt;Louis Marsolleau (b. France 1864- d. France 1935) was a French poet, playwright and novelist, well represented in French theatre in the late 19th and early 20th centuries, including the Comédie-Française, Théâtre Antoine, and Théâtre de l'Odéon. &lt;br /&gt;&lt;br /&gt;This particular play, in its French original &lt;em&gt;Mais quelqu'un troubla la fête&lt;/em&gt; (1900), was judged anarchist because it took on the management class, and thus was censured. The play was mounted every year on May Day in the U.S. and in Europe by worker cooperatives at the beginning of the 1900s in celebration of worker solidarity.&lt;br /&gt;&lt;br /&gt;The publisher (or perhaps bookstore distributor) is listed on the cover as Libreria del Proletario [Bookstore of &lt;em&gt;Il Proletario&lt;/em&gt;], at 158 Carroll Street in Brooklyn, but the title page of the first play lists only the printer, International Press of Brooklyn, at the same address. Both cover and title page are reproduced here, as is the rear cover advertisting the socialist &lt;em&gt;Il Proletario&lt;/em&gt;.</text>
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