1 25 67 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/0cdcec63f16610486017bd53b29c2631.jpg?Expires=1779926400&Signature=TUsdxFT96Br4nLtqJ78Y1yg-h%7Eq8WMUu0RCVve%7Ewo2QWY6Tm5QRjvKBlLZHxlAdjALVZaHBtg0wP7e4BFhEwrNToDHkt9-d9f2swWuMPB0D4Td213AmGEXmOjSUElNqGOvBzzp-fdmfIV47RZw0I-bZaNthrKH44e-LytEd5R%7EcRWlbWqr4Ic1CvNnwuZ7-QgYzEolLx7Sx1MroBnCCsmL2e9QptN7x1dhaCasJEmz4Rgs6CX-mr71rEQko0oZEgRxwbkMlT3W8852wOBVw7HFjprBrFKsk-d80SJ6Qs0XIAH9EHhCIO8E2iFXPCLvofFoyoNo0y8kEutJ8r--fv4Q__&Key-Pair-Id=K6UGZS9ZTDSZM 67e10b1ba81a1eef97ddeea72abeea8e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Controcorrente: organo d'agitazione e di battaglia contro il fascismo /The Countercurrent: against all fascism everywhere, Vol. 8, No. 2. Boston, August 1946. Creator An entity primarily responsible for making the resource Aldino Felicani, Editor Date A point or period of time associated with an event in the lifecycle of the resource August 1946 Language A language of the resource Italian Relation A related resource <a href="https://italianamericanimprints.omeka.net/items/show/543">La Controcorrente, Vol. 2, No. 9 - September 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/544">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/544">, Vol. 2, No. 10 - October 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/545">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/545">, Vol. 2, No. 11 - November 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/546">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/546">, Vol. 3, No. 1 - February 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/548">La Controcorrente, Vol. 3, No. 3 - April-May 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/549">La Controcorrente, Vol. 3, No. 4 - June-July 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/550">La Controcorrente, Vol. 3, No. 5 - August-September 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/551">La Controcorrente, Vol. 3, No. 9 - January 1942</a> <a href="https://italianamericanimprints.omeka.net/items/show/552">La Controcorrente, Vol. 3, No. 10 - February 1942</a> <a href="https://italianamericanimprints.omeka.net/items/show/479">La Controcorrente [main entry]</a> Description An account of the resource Aldo (Aldino) Felicani, a typographer and anarchist who started newspapers in Cleveland and elsewhere in the U.S. and who was intimately involved in trying to save Sacco and Vanzetti (he was the treasurer of the Sacco and Vanzetti Defense Committee in 1920-23, q.v.), founded La Controcorrente in 1938 in Boston with Gaetano Salvemini, Ernesto Rossi and Piero Calamandrei. The collection contains 10 issues of the newspaper, which contained a Section One in Italian and a Section 2 in English, beginning with No. 9 of Vol. II, September 1940, when La Controcorrente was published monthly, evidently having begun in January 1940, and also has the October and November monthly issues for that year. It continued as a monthly through March (the Collection has the February 1941 edition), then became bimonthly with No. 3 of Vol. III, the April-May issue. (The Collection contains that issue and Nos. 4 and 5, the June-July and August-September issues.) It returned to monthly publication with No. 6 (October 1941); the collection has the January and February 1942 issues, Nos. 9 and 10 of Vol. III. The tenth issue in the collection is from August 1946, Vol. VIII - No. 2. Some issues were as many as 8 pages each of Italian and of English text (without illustrations), but most were 4 pages each of Italian and of English text. In all cases, Section Two (the English language version) is enveloped inside of the Section One in Italian. The 1940-1942 issues are all fold in the middle newspaper style. The 1946 issue is a tabloid. La Controcorrente was unique among journals of the Italian American left that I have seen. It was, plain and simple, anti-fascist, that is to say, the tone and, I suspect, the origins of the newspaper were not anarchist-become-anti-fascist (despite Felicani's early politics), socialist-become-antifascist (despite Salvemini's early politics), or communist-become-antifascist. Consistent with that, and perhaps reflecting the single-mindedness of the intellectual Salvemini, as noted it lacked illustrations unlike, say, La Cronaca Sovversiva or Il Martello, on the left, or Il Carroccio, on the right, as if to say "We mean business, and that's the business of anti-fascism, not of entertaining you or creating a cultural as well as political magazine." Anita Pasolini was the editor of the 1940-1942 issues; publisher Felicani was the editor by 1946, although I do not know when that change occurred. The most frequent contributor in all years was one of the founders and also the most famous writer: Gaetano Salvemini, a professor of history at Harvard at the time who had become an American citizen in 1940, some years after the Fascists revoked his Italian citizenship (in 1926) and he was dismissed from the faculty of the University of Florence. Initially a member of the Italian Socialist Party, Salvemini evolved into a kind of independent humanitarian socialism divorced to a greater or less degree from actual politics. Indeed, even his friends in the U.S. among Italian exiles years later, like Max Ascoli, declared Salvemini was "terrible" at politics. In exile since 1925 in France (where he collaborated with the Rossellis to form Giustizia e Libertà), England and finally the U.S., Salvemini was above all an ardent anti-fascist. By 1940, when La Controcorrente began, Salvemini had become a U.S. citizen. From the beginning, in 1940, La Controcorrente attacked Mussolini and fascism for the damage it inflicted on Italy and Italians, and declared that contrary to the criticism leveled against it, was not "Communist-inspired." (The articles in the two sections were not for the most part the same ones translated from one language to the other.) Indeed, in the box providing its address and other particulars, the newspaper also proclaimed its purpose as being to "present the truth concerning Fascism wherever it exists . . . We are concerned with no political or economic cause." It also notes that in the February 1941 issue that in its two years of existence, it had published in its English section articles by Hemingway, Angelica Balabanoff, George Seldes, and R.H. Markham, among others. (I found an article, as well, that Upton Sinclair was said to have offered to provide to the newspaper.) In the Italian section, the writers included, beside Salvemini, Glauco Glauci, Arturo Giovannitti and Libero Martello; and as seems to have been a practice in virtually all the leftist and other Italian magazines and newspapers in the U.S., there appears a list of recent subscribers, a list that includes at times familiar names (e.g., Virginio De Martin, the publisher of Renzo Novatore's Verso la nulla creatore, q.v.). Besides attacking Mussolini, Henry Ford and Charles Lindbergh incited its ire; La Controcorrente also attacked New York's Il Progresso Italo-Americano - or more particularly, its publisher, Generoso Pope - for their constant praise for Mussolini and fascism, while at the same time with its articles critical of American politics and politicians. While Il Progresso proclaimed it was an "American" newspaper promoting American ideals, it was staffed with Italian journalists who, by diktat from Mussolini, should not have been allowed to work in non-Italian newspapers as foreign correspondents. This criticism was consistent with that of Carlo Tresca, who famously called Pope a "man of straw." La Controcorrente had similar criticisms of James Donnamura's La Gazzetta of Boston for its silence about General Franco and the events taking place in Spain. Of great interest is that the 1946 issue - as noted, in tabloid not middle fold style - contains 16 pages all in Italian. It contains, as in the earlier issues, an article by Salvemini, but the absence of an English language section, unlike in the earlier issues is surprising. Also, unlike the earlier issues from 1940-1942, where Felicani's name as publisher is nowhere to be found, in this 1946 issue, Felicani is listed on page 1 as both "editor and publisher." Of course, the most important change is that by 1946, Mussolini is gone. So the criticisms throughout this issue are of Palmiro Togliatti and current Italian electoral politics, the peace treaty conference in Paris, interference in Italian politics by the Vatican, and a sarcastic article about the "big lasagna Neanderthal from Savoy," an article trying to shed light on the crime of the assassination of Carlo Tresca, and several criticisms of Il Progresso and other "cafoni" (boors) in New York for their support of the Italian Labor Council. While still enlightening and entertaining, without Mussolini as the focus of its anti-fascist efforts, La Controcorrente seems by this time to have lost its way somewhat. The absence of an English language version suggests that its diehard readers in 1946 were fighting old battles of less interest to English-language readers. I would be surprised if the newspaper continued long after this issue. 1941-1950 anti-fascist Boston Gaetano Salvemini magazine periodical https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/6f7cb589835c3a07f68fc52858d5cf0c.jpg?Expires=1779926400&Signature=oeQ-QyoBYOaI8%7ED1FdyIuGBiGvEkeV239HfYoQ3oYaBB6dbGjge3CRcH2NQcTWooXxXt2tnu-SuGhT-4rO5qzcPLeO5HWd7WfeCTStS-E2W7Sm6z6bgOnsNcKb9VCU2t4jhjNHvpNyqjghwXZzfkECle-g1m2sUx98Oxoc0BefHX1cI-pokvkQP9h1sdD%7EoILowYnws3%7EVGLFKRH9bDDPqdXNPshuy2pAdVo2UdUwwx5zePhpHfPD600Tr9iPVrIBrCaM6Whxr0xPqrlEWceHkKRQdlk3VACDkcIRQdbN0KZcn3JCOwmPOk3-h0PzS%7EaOUu3yvH3yvudVQFQRWgjmw__&Key-Pair-Id=K6UGZS9ZTDSZM 7dae5d08f86d6d490c2ae945de682220 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Controcorrente: organo d'agitazione e di battaglia contro il fascismo /The Countercurrent: against all fascism everywhere, Vol. 3, No. 10. Boston, February 1942. Creator An entity primarily responsible for making the resource Anito Paolini, Editor Date A point or period of time associated with an event in the lifecycle of the resource February 1942 Language A language of the resource Italian Relation A related resource <a href="https://italianamericanimprints.omeka.net/items/show/543">La Controcorrente, Vol. 2, No. 9 - September 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/544">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/544">, Vol. 2, No. 10 - October 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/545">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/545">, Vol. 2, No. 11 - November 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/546">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/546">, Vol. 3, No. 1 - February 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/548">La Controcorrente, Vol. 3, No. 3 - April-May 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/549">La Controcorrente, Vol. 3, No. 4 - June-July 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/550">La Controcorrente, Vol. 3, No. 5 - August-September 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/551">La Controcorrente, Vol. 3, No. 9 - January 1942</a> <a href="https://italianamericanimprints.omeka.net/items/show/553">La Controcorrente, Vol. 8, No. 2 - August 1946</a> <a href="https://italianamericanimprints.omeka.net/items/show/479">La Controcorrente [main entry]</a> Description An account of the resource Aldo (Aldino) Felicani, a typographer and anarchist who started newspapers in Cleveland and elsewhere in the U.S. and who was intimately involved in trying to save Sacco and Vanzetti (he was the treasurer of the Sacco and Vanzetti Defense Committee in 1920-23, q.v.), founded La Controcorrente in 1938 in Boston with Gaetano Salvemini, Ernesto Rossi and Piero Calamandrei. The collection contains 10 issues of the newspaper, which contained a Section One in Italian and a Section 2 in English, beginning with No. 9 of Vol. II, September 1940, when La Controcorrente was published monthly, evidently having begun in January 1940, and also has the October and November monthly issues for that year. It continued as a monthly through March (the collection has the February 1941 edition), then became bimonthly with No. 3 of Vol. III, the April-May issue. (The collection contains that issue and Nos. 4 and 5, the June-July and August-September issues.) It returned to monthly publication with No. 6 (October 1941); the collection has the January and February 1942 issues, Nos. 9 and 10 of Vol. III. The tenth issue in the collection is from August 1946, Vol. VIII - No. 2. Some issues were as many as 8 pages each of Italian and of English text (without illustrations), but most were 4 pages each of Italian and of English text. In all cases, Section Two (the English language version) is enveloped inside of the Section One in Italian. The 1940-1942 issues are all fold in the middle newspaper style. The 1946 issue is a tabloid. La Controcorrente was unique among journals of the Italian American left that I have seen. It was, plain and simple, anti-fascist, that is to say, the tone and, I suspect, the origins of the newspaper were not anarchist-become-anti-fascist (despite Felicani's early politics), socialist-become-antifascist (despite Salvemini's early politics), or communist-become-antifascist. Consistent with that, and perhaps reflecting the single-mindedness of the intellectual Salvemini, as noted it lacked illustrations unlike, say, La Cronaca Sovversiva or Il Martello, on the left, or Il Carroccio, on the right, as if to say "We mean business, and that's the business of anti-fascism, not of entertaining you or creating a cultural as well as political magazine." Anita Pasolini was the editor of the 1940-1942 issues; publisher Felicani was the editor by 1946, although I do not know when that change occurred. The most frequent contributor in all years was one of the founders and also the most famous writer: Gaetano Salvemini, a professor of history at Harvard at the time who had become an American citizen in 1940, some years after the Fascists revoked his Italian citizenship (in 1926) and he was dismissed from the faculty of the University of Florence. Initially a member of the Italian Socialist Party, Salvemini evolved into a kind of independent humanitarian socialism divorced to a greater or less degree from actual politics. Indeed, even his friends in the U.S. among Italian exiles years later, like Max Ascoli, declared Salvemini was "terrible" at politics. In exile since 1925 in France (where he collaborated with the Rossellis to form Giustizia e Libertà), England and finally the U.S., Salvemini was above all an ardent anti-fascist. By 1940, when La Controcorrente began, Salvemini had become a U.S. citizen. From the beginning, in 1940, La Controcorrente attacked Mussolini and fascism for the damage it inflicted on Italy and Italians, and declared that contrary to the criticism leveled against it, was not "Communist-inspired." (The articles in the two sections were not for the most part the same ones translated from one language to the other.) Indeed, in the box providing its address and other particulars, the newspaper also proclaimed its purpose as being to "present the truth concerning Fascism wherever it exists . . . We are concerned with no political or economic cause." It also notes that in the February 1941 issue that in its two years of existence, it had published in its English section articles by Hemingway, Angelica Balabanoff, George Seldes, and R.H. Markham, among others. (I found an article, as well, that Upton Sinclair was said to have offered to provide to the newspaper.) In the Italian section, the writers included, beside Salvemini, Glauco Glauci, Arturo Giovannitti and Libero Martello; and as seems to have been a practice in virtually all the leftist and other Italian magazines and newspapers in the U.S., there appears a list of recent subscribers, a list that includes at times familiar names (e.g., Virginio De Martin, the publisher of Renzo Novatore's Verso la nulla creatore, q.v.). Besides attacking Mussolini, Henry Ford and Charles Lindbergh incited its ire; La Controcorrente also attacked New York's Il Progresso Italo-Americano - or more particularly, its publisher, Generoso Pope - for their constant praise for Mussolini and fascism, while at the same time with its articles critical of American politics and politicians. While Il Progresso proclaimed it was an "American" newspaper promoting American ideals, it was staffed with Italian journalists who, by diktat from Mussolini, should not have been allowed to work in non-Italian newspapers as foreign correspondents. The criticism was consistent with that of Carlo Tresca, who famously called Pope a "man of straw." La Controcorrente had similar criticisms of James Donnamura's La Gazzetta of Boston for its silence about General Franco and the events taking place in Spain. Of great interest is that the 1946 issue - as noted, in tabloid not middle fold style - contains 16 pages all in Italian. It contains, as in the earlier issues, an article by Salvemini, but the absence of an English language section, unlike in the earlier issues is surprising. Also, unlike the earlier issues from 1940-1942, where Felicani's name as publisher is nowhere to be found, in this 1946 issue, Felicani is listed on page 1 as both "editor and publisher." Of course, the most important change is that by 1946, Mussolini is gone. So the criticisms throughout this issue are of Palmiro Togliatti and current Italian electoral politics, the peace treaty conference in Paris, interference in Italian politics by the Vatican, and a sarcastic article about the "big lasagna Neanderthal from Savoy," an article trying to shed light on the crime of the assassination of Carlo Tresca, and several criticisms of Il Progresso and other "cafoni" (boors) in New York for their support of the Italian Labor Council. While still enlightening and entertaining, without Mussolini as the focus of its anti-fascist efforts, La Controcorrente seems by this time to have lost its way somewhat. The absence of an English language version suggests that its diehard readers in 1946 were fighting old battles of less interest to English-language readers. I would be surprised if the newspaper continued long after this issue. 1941-1950 anti-fascist Boston Gaetano Salvemini magazine https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/899e88fc82221e46356d83ca1f2b6a0f.jpg?Expires=1779926400&Signature=FxT6%7Ex8j54F09JwkSDLqKzET2AoS7FXZIrlJnVtclohT%7E0pU6tVerEy1HQKzOwAsMIzPZFs3YOX0w2XGkoTPn7AMsY7BvVJwlIe99FDHi7xyrMQJcTfKlJj8xhmtyVzCbLXj0JHRpt9ujDwSV1uhPiGXKAtZLd0cG6si6mzMGu6-JKf%7EQs6vm4JjSqyVV1wjwRKcPIm2jfyTAZBNKo9ph-xjsZFDCLFnHqmILzcn-8IcqeAF8abXfEy82E9u7HTXX-FJ8xAPoslefSl4hxpbMf2MxOixjzWr2aiJdnrXsRUyngJFjkBOSeCmZjT3VGU3n2d0FqxkD1W%7EZobS4dic1A__&Key-Pair-Id=K6UGZS9ZTDSZM 7ee9a7ad107fd96659f471a4cb13212b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Controcorrente: organo d'agitazione e di battaglia contro il fascismo /The Countercurrent: against all fascism everywhere, Vol. 3, No. 9. Boston, January 1942. Creator An entity primarily responsible for making the resource Anita Paolini, Editor Date A point or period of time associated with an event in the lifecycle of the resource January 1942 Language A language of the resource Italian Relation A related resource <a href="https://italianamericanimprints.omeka.net/items/show/543">La Controcorrente, Vol. 2, No. 9 - September 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/544">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/544">, Vol. 2, No. 10 - October 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/545">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/545">, Vol. 2, No. 11 - November 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/546">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/546">, Vol. 3, No. 1 - February 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/548">La Controcorrente, Vol. 3, No. 3 - April-May 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/549">La Controcorrente, Vol. 3, No. 4 - June-July 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/550">La Controcorrente, Vol. 3, No. 5 - August-September 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/552">La Controcorrente, Vol. 3, No. 10 - February 1942</a> <a href="https://italianamericanimprints.omeka.net/items/show/553">La Controcorrente, Vol. 8, No. 2 - August 1946</a> <a href="https://italianamericanimprints.omeka.net/items/show/479">La Controcorrente [main entry]</a> 1941-1950 anti-fascist Boston Gaetano Salvemini magazine periodical https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/ee590da01b6efdf4546032b1b5830267.jpg?Expires=1779926400&Signature=qQ8XGbVI4el4xairDWFVECkcxzXQLHziZMJRhAM362nfCZATH2zwBlfoxLgzrdbcnu7jBSmWxMMa0KV624TJJgGiazSBd9LIW4XKWikJ7IV5cGk6YMRBXR7z8sbyOEzSFppNmkwkE%7Ey7xaQwKWCP9Fq1ibPKG6aYiutEPLxC8eiaSQe2NwvifZUPt1vtfEL8bjBJkRf0xM6Se4VccwSzyYKNPdmJC4MZss5dH-Gut23RtOzZ84MoPuKiu%7E9hNFDJCgX%7EN0dXNG5wrnL6auaH27fen5RPso5ionDu8R52F9J-r7ONXf7ECF6JgCLEdtuYlJpnNi9F1Ht8AiXhzxh9lQ__&Key-Pair-Id=K6UGZS9ZTDSZM be0fea2a67a4c260e7ad0595a47ad726 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Controcorrente: organo d'agitazione e di battaglia contro il fascismo /The Countercurrent: against all fascism everywhere, Vol. 3, No. 5. Boston, August-September 1941. Date A point or period of time associated with an event in the lifecycle of the resource August-September 1941 Language A language of the resource Italian Relation A related resource <a href="https://italianamericanimprints.omeka.net/items/show/543">La Controcorrente, Vol. 2, No. 9 - September 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/544">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/544">, Vol. 2, No. 10 - October 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/545">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/545">, Vol. 2, No. 11 - November 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/546">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/546">, Vol. 3, No. 1 - February 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/548">La Controcorrente, Vol. 3, No. 3 - April-May 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/549">La Controcorrente, Vol. 3, No. 4 - June-July 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/551">La Controcorrente, Vol. 3, No. 9 - January 1942</a> <a href="https://italianamericanimprints.omeka.net/items/show/552">La Controcorrente, Vol. 3, No. 10 - February 1942</a> <a href="https://italianamericanimprints.omeka.net/items/show/553">La Controcorrente, Vol. 8, No. 2 - August 1946</a> <a href="https://italianamericanimprints.omeka.net/items/show/479">La Controcorrente [main entry]</a> Description An account of the resource Aldo (Aldino) Felicani, a typographer and anarchist who started newspapers in Cleveland and elsewhere in the U.S. and who was intimately involved in trying to save Sacco and Vanzetti (he was the treasurer of the Sacco and Vanzetti Defense Committee in 1920-23, q.v.), founded La Controcorrente in 1938 in Boston with Gaetano Salvemini, Ernesto Rossi and Piero Calamandrei. The collection contains 10 issues of the newspaper, which contained a Section One in Italian and a Section 2 in English, beginning with No. 9 of Vol. II, September 1940, when La Controcorrente was published monthly, evidently having begun in January 1940, and also has the October and November monthly issues for that year. It continued as a monthly through March (the collection has the February 1941 edition), then became bimonthly with No. 3 of Vol. III, the April-May issue. (The collection contains that issue and Nos. 4 and 5, the June-July and August-September issues.) It returned to monthly publication with No. 6 (October 1941); the collection has the January and February 1942 issues, Nos. 9 and 10 of Vol. III. The tenth issue in the collection is from August 1946, Vol. VIII - No. 2. Some issues were as many as 8 pages each of Italian and of English text (without illustrations), but most were 4 pages each of Italian and of English text. In all cases, Section Two (the English language version) is enveloped inside of the Section One in Italian. The 1940-1942 issues are all fold in the middle newspaper style. The 1946 issue is a tabloid. La Controcorrente was unique among journals of the Italian American left that I have seen. It was, plain and simple, anti-fascist, that is to say, the tone and, I suspect, the origins of the newspaper were not anarchist-become-anti-fascist (despite Felicani's early politics), socialist-become-antifascist (despite Salvemini's early politics), or communist-become-antifascist. Consistent with that, and perhaps reflecting the single-mindedness of the intellectual Salvemini, as noted it lacked illustrations unlike, say, La Cronaca Sovversiva or Il Martello, on the left, or Il Carroccio, on the right, as if to say "We mean business, and that's the business of anti-fascism, not of entertaining you or creating a cultural as well as political magazine." Anita Pasolini was the editor of the 1940-1942 issues; publisher Felicani was the editor by 1946, although I do not know when that change occurred. The most frequent contributor in all years was one of the founders and also the most famous writer: Gaetano Salvemini, a professor of history at Harvard at the time who had become an American citizen in 1940, some years after the Fascists revoked his Italian citizenship (in 1926) and he was dismissed from the faculty of the University of Florence. Initially a member of the Italian Socialist Party, Salvemini evolved into a kind of independent humanitarian socialism divorced to a greater or less degree from actual politics. Indeed, even his friends in the U.S. among Italian exiles years later, like Max Ascoli, declared Salvemini was "terrible" at politics. In exile since 1925 in France (where he collaborated with the Rossellis to form Giustizia e Libertà), England and finally the U.S., Salvemini was above all an ardent anti-fascist. By 1940, when La Controcorrente began, Salvemini had become a U.S. citizen. From the beginning, in 1940, La Controcorrente attacked Mussolini and fascism for the damage it inflicted on Italy and Italians, and declared that contrary to the criticism leveled against it, was not "Communist-inspired." (The articles in the two sections were not for the most part the same ones translated from one language to the other.) Indeed, in the box providing its address and other particulars, the newspaper also proclaimed its purpose as being to "present the truth concerning Fascism wherever it exists . . . We are concerned with no political or economic cause." It also notes that in the February 1941 issue that in its two years of existence, it had published in its English section articles by Hemingway, Angelica Balabanoff, George Seldes, and R.H. Markham, among others. (I found an article, as well, that Upton Sinclair was said to have offered to provide to the newspaper.) In the Italian section, the writers included, beside Salvemini, Glauco Glauci, Arturo Giovannitti and Libero Martello; and as seems to have been a practice in virtually all the leftist and other Italian magazines and newspapers in the U.S., there appears a list of recent subscribers, a list that includes at times familiar names (e.g., Virginio De Martin, the publisher of Renzo Novatore's Verso la nulla creatore, q.v.). Besides attacking Mussolini, Henry Ford and Charles Lindbergh incited its ire; La Controcorrente also attacked New York's Il Progresso Italo-Americano - or more particularly, its publisher, Generoso Pope - for their constant praise for Mussolini and fascism, while at the same time with its articles critical of American politics and politicians. While Il Progresso proclaimed it was an "American" newspaper promoting American ideals, it was staffed with Italian journalists who, by diktat from Mussolini, should not have been allowed to work in non-Italian newspapers as foreign correspondents. The criticism was consistent with that of Carlo Tresca, who famously called Pope a "man of straw." La Controcorrente had similar criticisms of James Donnamura's La Gazzetta of Boston for its silence about General Franco and the events taking place in Spain. Of great interest is that the 1946 issue - as noted, in tabloid not middle fold style - contains 16 pages all in Italian. It contains, as in the earlier issues, an article by Salvemini, but the absence of an English language section, unlike in the earlier issues is surprising. Also, unlike the earlier issues from 1940-1942, where Felicani's name as publisher is nowhere to be found, in this 1946 issue, Felicani is listed on page 1 as both "editor and publisher." Of course, the most important change is that by 1946, Mussolini is gone. So the criticisms throughout this issue are of Palmiro Togliatti and current Italian electoral politics, the peace treaty conference in Paris, interference in Italian politics by the Vatican, and a sarcastic article about the "big lasagna Neanderthal from Savoy," an article trying to shed light on the crime of the assassination of Carlo Tresca, and several criticisms of Il Progresso and other "cafoni" (boors) in New York for their support of the Italian Labor Council. While still enlightening and entertaining, without Mussolini as the focus of its anti-fascist efforts, La Controcorrente seems by this time to have lost its way somewhat. The absence of an English language version suggests that its diehard readers in 1946 were fighting old battles of less interest to English-language readers. I would be surprised if the newspaper continued long after this issue. 1941-1950 anti-fascist Boston Gaetano Salvemini magazine https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/80bbdb28f6726c3b2bb5b7d03f224a0c.jpg?Expires=1779926400&Signature=bMUSbNl9HpXN5zN4JF9l8IKfzNkZZbvKT8zYWcrZPGDdE1VHLa2-jjJKd5D4gbU65f9mwvWnRYcPJP3sqL4EDqmE2uK8C1U%7ELn0U3OuiQ45%7EJLQ1qMpj63b9imeZecmwh0Hy%7E7jsqSOpP0I6ByoX6-mFBJFizEf%7EZVfBmm6hqQw1-FLTKO63wTsxl%7EsjNDhNx23pxz6iHRdlZVjkUyIvekUnZldrOBwylETp9RfAR%7EDpTRvo2nnjHigkQSy0YvINEcIUzNKxq2pYGn9DVKX6wIbA2uhQa0UU05o-hn9auZ1zu001vSneeFGKne5YkWCub8DU0%7EB-e%7ETxyELz1hAY5w__&Key-Pair-Id=K6UGZS9ZTDSZM 6210367cf37bbab12c09af4ed00392c6 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/e047fbd811da2e5bedcc4117904dde4e.jpg?Expires=1779926400&Signature=KVhY1BnxaOakdVezMtjYiI0Qcd9z4IUn4h5I-zMeG8GHV4lWPnGjjLt0zuJATgIrKrm1OJS4AfVuTkQNeb3xvh0ccpKQvkbG%7EA1vPpsJ9C1%7E-z7NtdWoCGwInr00KTUVRWfoyrn%7EKw7WDeRay1UlQbdAPJn8wYuDSYjDI-2SAQ0FwJQwDj20E7gB6lRMEhpuDC%7E0VA7moDpaH74kQvSGQr-QGtvt30rPHxSYIyvcE3ABhDR3%7E3a-9ymc8XBkoo5zPgqG3GRp4AwpYPruTCPz5pUxXkZkVzM4gtmK4BnbKExycACZuGCBHWOnX0bp0qLEDifOSbeUCaC6A8Y%7EKc5pXg__&Key-Pair-Id=K6UGZS9ZTDSZM 71cd86e9d490a9090020b490020033e7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Controcorrente: organo d'agitazione e di battaglia contro il fascismo /The Countercurrent: against all fascism everywhere, Vol. 3, No. 3. Boston, April-May 1941. Creator An entity primarily responsible for making the resource Anita Paolini, Editor Date A point or period of time associated with an event in the lifecycle of the resource April-May 1941 Language A language of the resource Italian Relation A related resource <a href="https://italianamericanimprints.omeka.net/items/show/543">La Controcorrente, Vol. 2, No. 9 - September 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/544">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/544">, Vol. 2, No. 10 - October 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/545">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/545">, Vol. 2, No. 11 - November 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/546">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/546">, Vol. 3, No. 1 - February 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/549">La Controcorrente, Vol. 3, No. 4 - June-July 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/550">La Controcorrente, Vol. 3, No. 5 - August-September 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/551">La Controcorrente, Vol. 3, No. 9 - January 1942</a> <a href="https://italianamericanimprints.omeka.net/items/show/552">La Controcorrente, Vol. 3, No. 10 - February 1942</a> <a href="https://italianamericanimprints.omeka.net/items/show/553">La Controcorrente, Vol. 8, No. 2 - August 1946</a> <a href="https://italianamericanimprints.omeka.net/items/show/479">La Controcorrente [main entry]</a> Description An account of the resource Aldo (Aldino) Felicani, a typographer and anarchist who started newspapers in Cleveland and elsewhere in the U.S. and who was intimately involved in trying to save Sacco and Vanzetti (he was the treasurer of the Sacco and Vanzetti Defense Committee in 1920-23, q.v.), founded La Controcorrente in 1938 in Boston with Gaetano Salvemini, Ernesto Rossi and Piero Calamandrei. The collection contains 10 issues of the newspaper, which contained a Section One in Italian and a Section 2 in English, beginning with No. 9 of Vol. II, September 1940, when La Controcorrente was published monthly, evidently having begun in January 1940, and also has the October and November monthly issues for that year. It continued as a monthly through March (the collection has the February 1941 edition), then became bimonthly with No. 3 of Vol. III, the April-May issue. (The collection contains that issue and Nos. 4 and 5, the June-July and August-September issues.) It returned to monthly publication with No. 6 (October 1941); the collection has the January and February 1942 issues, Nos. 9 and 10 of Vol. III. The tenth issue in the collection is from August 1946, Vol. VIII - No. 2. Some issues were as many as 8 pages each of Italian and of English text (without illustrations), but most were 4 pages each of Italian and of English text. In all cases, Section Two (the English language version) is enveloped inside of the Section One in Italian. The 1940-1942 issues are all fold in the middle newspaper style. The 1946 issue is a tabloid. La Controcorrente was unique among journals of the Italian American left that I have seen. It was, plain and simple, anti-fascist, that is to say, the tone and, I suspect, the origins of the newspaper were not anarchist-become-anti-fascist (despite Felicani's early politics), socialist-become-antifascist (despite Salvemini's early politics), or communist-become-antifascist. Consistent with that, and perhaps reflecting the single-mindedness of the intellectual Salvemini, as noted it lacked illustrations unlike, say, La Cronaca Sovversiva or Il Martello, on the left, or Il Carroccio, on the right, as if to say "We mean business, and that's the business of anti-fascism, not of entertaining you or creating a cultural as well as political magazine." Anita Pasolini was the editor of the 1940-1942 issues; publisher Felicani was the editor by 1946, although I do not know when that change occurred. The most frequent contributor in all years was one of the founders and also the most famous writer: Gaetano Salvemini, a professor of history at Harvard at the time who had become an American citizen in 1940, some years after the Fascists revoked his Italian citizenship (in 1926) and he was dismissed from the faculty of the University of Florence. Initially a member of the Italian Socialist Party, Salvemini evolved into a kind of independent humanitarian socialism divorced to a greater or less degree from actual politics. Indeed, even his friends in the U.S. among Italian exiles years later, like Max Ascoli, declared Salvemini was "terrible" at politics. In exile since 1925 in France (where he collaborated with the Rossellis to form Giustizia e Libertà), England and finally the U.S., Salvemini was above all an ardent anti-fascist. By 1940, when La Controcorrente began, Salvemini had become a U.S. citizen. From the beginning, in 1940, La Controcorrente attacked Mussolini and fascism for the damage it inflicted on Italy and Italians, and declared that contrary to the criticism leveled against it, was not "Communist-inspired." (The articles in the two sections were not for the most part the same ones translated from one language to the other.) Indeed, in the box providing its address and other particulars, the newspaper also proclaimed its purpose as being to "present the truth concerning Fascism wherever it exists . . . We are concerned with no political or economic cause." It also notes that in the February 1941 issue that in its two years of existence, it had published in its English section articles by Hemingway, Angelica Balabanoff, George Seldes, and R.H. Markham, among others. (I found an article, as well, that Upton Sinclair was said to have offered to provide to the newspaper.) In the Italian section, the writers included, beside Salvemini, Glauco Glauci, Arturo Giovannitti and Libero Martello; and as seems to have been a practice in virtually all the leftist and other Italian magazines and newspapers in the U.S., there appears a list of recent subscribers, a list that includes at times familiar names (e.g., Virginio De Martin, the publisher of Renzo Novatore's Verso la nulla creatore, q.v.). Besides attacking Mussolini, Henry Ford and Charles Lindbergh incited its ire; La Controcorrente also attacked New York's Il Progresso Italo-Americano - or more particularly, its publisher, Generoso Pope - for their constant praise for Mussolini and fascism, while at the same time with its articles critical of American politics and politicians. While Il Progresso proclaimed it was an "American" newspaper promoting American ideals, it was staffed with Italian journalists who, by diktat from Mussolini, should not have been allowed to work in non-Italian newspapers as foreign correspondents. The criticism was consistent with that of Carlo Tresca, who famously called Pope a "man of straw." La Controcorrente had similar criticisms of James Donnamura's La Gazzetta of Boston for its silence about General Franco and the events taking place in Spain. Of great interest is that the 1946 issue - as noted, in tabloid not middle fold style - contains 16 pages all in Italian. It contains, as in the earlier issues, an article by Salvemini, but the absence of an English language section, unlike in the earlier issues is surprising. Also, unlike the earlier issues from 1940-1942, where Felicani's name as publisher is nowhere to be found, in this 1946 issue, Felicani is listed on page 1 as both "editor and publisher." Of course, the most important change is that by 1946, Mussolini is gone. So the criticisms throughout this issue are of Palmiro Togliatti and current Italian electoral politics, the peace treaty conference in Paris, interference in Italian politics by the Vatican, and a sarcastic article about the "big lasagna Neanderthal from Savoy," an article trying to shed light on the crime of the assassination of Carlo Tresca, and several criticisms of Il Progresso and other "cafoni" (boors) in New York for their support of the Italian Labor Council. While still enlightening and entertaining, without Mussolini as the focus of its anti-fascist efforts, La Controcorrente seems by this time to have lost its way somewhat. The absence of an English language version suggests that its diehard readers in 1946 were fighting old battles of less interest to English-language readers. I would be surprised if the newspaper continued long after this issue. 1941-1950 anti-fascist Boston Gaetano Salvemini magazine periodical https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/e7746a682693c9854bde97b174fc954c.jpg?Expires=1779926400&Signature=Gh2WRGn2C31Q5bFnrgG%7EUV34IDJZIQB%7EtyAP7ua09Uh4b641VnML-hfuo-Pegeb5ftzMs%7E8hynNmJPRuWkX1%7EPjoma9vTIyV%7EfMSHdhSc41auKdifJOgYflAvuBo7efzzpww6vqePdeaSk028%7EPGHF7BozOrxLyW1YvauaE5dIlEoHixAb%7E6Uf5wjZ2oyaRb7fA2mTScKUMUTkM4pfkUb4nYUUA04YRhE4QW6hnmC8zt3AGF1-PhzfciIjejyczhH3EYsKaHWNuPgpxfOR8-wim3syNOI-g1OaFvCboGF9jrbQxHFs3xZ9kuQsO5eVkgOtNlC0WHhSNn5nlxQTZrVw__&Key-Pair-Id=K6UGZS9ZTDSZM 3f28821a8720cd28e056c21b2d0cbe9b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Controcorrente: organo d'agitazione e di battaglia contro il fascismo /The Countercurrent: against all fascism everywhere, Vol. 3, No. 1. Boston, February 1941. Creator An entity primarily responsible for making the resource Anita Paolini, Editor Date A point or period of time associated with an event in the lifecycle of the resource February 1941 Language A language of the resource Italian Relation A related resource <a href="https://italianamericanimprints.omeka.net/items/show/543">La Controcorrente, Vol. 2, No. 9 - September 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/544">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/544">, Vol. 2, No. 10 - October 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/545">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/545">, Vol. 2, No. 11 - November 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/548">La Controcorrente, Vol. 3, No. 3 - April-May 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/549">La Controcorrente, Vol. 3, No. 4 - June-July 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/550">La Controcorrente, Vol. 3, No. 5 - August-September 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/551">La Controcorrente, Vol. 3, No. 9 - January 1942</a> <a href="https://italianamericanimprints.omeka.net/items/show/552">La Controcorrente, Vol. 3, No. 10 - February 1942</a> <a href="https://italianamericanimprints.omeka.net/items/show/553">La Controcorrente, Vol. 8, No. 2 - August 1946</a> <a href="https://italianamericanimprints.omeka.net/items/show/479">La Controcorrente [main entry]</a> Description An account of the resource Aldo (Aldino) Felicani, a typographer and anarchist who started newspapers in Cleveland and elsewhere in the U.S. and who was intimately involved in trying to save Sacco and Vanzetti (he was the treasurer of the Sacco and Vanzetti Defense Committee in 1920-23, q.v.), founded La Controcorrente in 1938 in Boston with Gaetano Salvemini, Ernesto Rossi and Piero Calamandrei. The collection contains 10 issues of the newspaper, which contained a Section One in Italian and a Section 2 in English, beginning with No. 9 of Vol. II, September 1940, when La Controcorrente was published monthly, evidently having begun in January 1940, and also has the October and November monthly issues for that year. It continued as a monthly through March (the collection has the February 1941 edition), then became bimonthly with No. 3 of Vol. III, the April-May issue. (The collection contains that issue and Nos. 4 and 5, the June-July and August-September issues.) It returned to monthly publication with No. 6 (October 1941); the collection has the January and February 1942 issues, Nos. 9 and 10 of Vol. III. The tenth issue in the collection is from August 1946, Vol. VIII - No. 2. Some issues were as many as 8 pages each of Italian and of English text (without illustrations), but most were 4 pages each of Italian and of English text. In all cases, Section Two (the English language version) is enveloped inside of the Section One in Italian. The 1940-1942 issues are all fold in the middle newspaper style. The 1946 issue is a tabloid. La Controcorrente was unique among journals of the Italian American left that I have seen. It was, plain and simple, anti-fascist, that is to say, the tone and, I suspect, the origins of the newspaper were not anarchist-become-anti-fascist (despite Felicani's early politics), socialist-become-antifascist (despite Salvemini's early politics), or communist-become-antifascist. Consistent with that, and perhaps reflecting the single-mindedness of the intellectual Salvemini, as noted it lacked illustrations unlike, say, La Cronaca Sovversiva or Il Martello, on the left, or Il Carroccio, on the right, as if to say "We mean business, and that's the business of anti-fascism, not of entertaining you or creating a cultural as well as political magazine." Anita Pasolini was the editor of the 1940-1942 issues; publisher Felicani was the editor by 1946, although I do not know when that change occurred. The most frequent contributor in all years was one of the founders and also the most famous writer: Gaetano Salvemini, a professor of history at Harvard at the time who had become an American citizen in 1940, some years after the Fascists revoked his Italian citizenship (in 1926) and he was dismissed from the faculty of the University of Florence. Initially a member of the Italian Socialist Party, Salvemini evolved into a kind of independent humanitarian socialism divorced to a greater or less degree from actual politics. Indeed, even his friends in the U.S. among Italian exiles years later, like Max Ascoli, declared Salvemini was "terrible" at politics. In exile since 1925 in France (where he collaborated with the Rossellis to form Giustizia e Libertà), England and finally the U.S., Salvemini was above all an ardent anti-fascist. By 1940, when La Controcorrente began, Salvemini had become a U.S. citizen. From the beginning, in 1940, La Controcorrente attacked Mussolini and fascism for the damage it inflicted on Italy and Italians, and declared that contrary to the criticism leveled against it, was not "Communist-inspired." (The articles in the two sections were not for the most part the same ones translated from one language to the other.) Indeed, in the box providing its address and other particulars, the newspaper also proclaimed its purpose as being to "present the truth concerning Fascism wherever it exists . . . We are concerned with no political or economic cause." It also notes that in the February 1941 issue that in its two years of existence, it had published in its English section articles by Hemingway, Angelica Balabanoff, George Seldes, and R.H. Markham, among others. (I found an article, as well, that Upton Sinclair was said to have offered to provide to the newspaper.) In the Italian section, the writers included, beside Salvemini, Glauco Glauci, Arturo Giovannitti and Libero Martello; and as seems to have been a practice in virtually all the leftist and other Italian magazines and newspapers in the U.S., there appears a list of recent subscribers, a list that includes at times familiar names (e.g., Virginio De Martin, the publisher of Renzo Novatore's Verso la nulla creatore, q.v.). Besides attacking Mussolini, Henry Ford and Charles Lindbergh incited its ire; La Controcorrente also attacked New York's Il Progresso Italo-Americano - or more particularly, its publisher, Generoso Pope - for their constant praise for Mussolini and fascism, while at the same time with its articles critical of American politics and politicians. While Il Progresso proclaimed it was an "American" newspaper promoting American ideals, it was staffed with Italian journalists who, by diktat from Mussolini, should not have been allowed to work in non-Italian newspapers as foreign correspondents. The criticism was consistent with that of Carlo Tresca, who famously called Pope a "man of straw." La Controcorrente had similar criticisms of James Donnamura's La Gazzetta of Boston for its silence about General Franco and the events taking place in Spain. Of great interest is that the 1946 issue - as noted, in tabloid not middle fold style - contains 16 pages all in Italian. It contains, as in the earlier issues, an article by Salvemini, but the absence of an English language section, unlike in the earlier issues is surprising. Also, unlike the earlier issues from 1940-1942, where Felicani's name as publisher is nowhere to be found, in this 1946 issue, Felicani is listed on page 1 as both "editor and publisher." Of course, the most important change is that by 1946, Mussolini is gone. So the criticisms throughout this issue are of Palmiro Togliatti and current Italian electoral politics, the peace treaty conference in Paris, interference in Italian politics by the Vatican, and a sarcastic article about the "big lasagna Neanderthal from Savoy," an article trying to shed light on the crime of the assassination of Carlo Tresca, and several criticisms of Il Progresso and other "cafoni" (boors) in New York for their support of the Italian Labor Council. While still enlightening and entertaining, without Mussolini as the focus of its anti-fascist efforts, La Controcorrente seems by this time to have lost its way somewhat. The absence of an English language version suggests that its diehard readers in 1946 were fighting old battles of less interest to English-language readers. I would be surprised if the newspaper continued long after this issue. 1941-1950 anti-fascist Boston Gaetano Salvemini magazine https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/81e2a4d2e3fddb99e4572e1d23c6bf3f.jpg?Expires=1779926400&Signature=E2VJ6DUPjJ4SW5Z9z%7E4rMGprIBZ0IbjYmbF1BBtfpuUoP6CTJvcgqzeWEeILCVtKcQSHm89TpLkQddwJ9YHcctnQPXNgGr6P0nvYCsF8DIZ4eyz01U2j1jKk-ieFscbQ8xLlRCrYO1dQiIePCVObyZzplE9XbiOJni-IGQSW6l1xXiUUIBgsIA8AWvfWjC8TTlVpHs%7E0Jn-2vqmuGwnazefbMn0g-Qm%7E2H5iEdWMPuxmRI3rEp%7EU9nKxKN8tK0B3fBYcKZjVD-QxCgkcW6M1%7EQpPIReXyov8hmtUMSTJmatVBpKGldPAj5velGE4JerJ5XBz-GPyx9EBB0WWtWcvUQ__&Key-Pair-Id=K6UGZS9ZTDSZM c32c621573376b83591e8256a5ca61c2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Il Martello [The Hammer], Vol 28, No. 3. New York: Casa Ed. "Il Martello," 14 Marzo [March] 1943. Date A point or period of time associated with an event in the lifecycle of the resource 14 Marzo [March] 1943 Creator An entity primarily responsible for making the resource Carlo Tresca Relation A related resource <a href="https://italianamericanimprints.omeka.net/items/show/535">Il Martello, Anno 3, No. 1 - Anno 4, No 3 - 1 Gennaio [January] 1918 - 16 Febbraio [February] 1919</a> <a href="https://italianamericanimprints.omeka.net/items/show/536">Il Martello, Anno 3-4, 1918-1919</a> <a href="https://italianamericanimprints.omeka.net/items/show/527">Il Martello, Vol. 7, No. 9 - 19 Marzo [March] 1921</a> <a href="https://italianamericanimprints.omeka.net/items/show/528">Il Martello, Vol. 7, No. 24 - 19 Luglio [July] 1921</a> <a href="https://italianamericanimprints.omeka.net/items/show/529">Il Martello, Vol. 7, No. 42 - 12 Dicembre [December] 1921</a> <a href="https://italianamericanimprints.omeka.net/items/show/530">Il Martello, Vol. 8, No. 8 - 4 Marzo [March] 1922</a> <a href="https://italianamericanimprints.omeka.net/items/show/531">Il Martello, Vol. 8, No. 14 - 27 Aprile [April] 1922</a> <a href="https://italianamericanimprints.omeka.net/items/show/532">Il Martello, Vol. 28, No. 1 - 14 Gennaio [January] 1943</a> <a href="https://italianamericanimprints.omeka.net/items/show/533">Il Martello, Vol. 28, No. 2 - 28 Febbraio [February] 1943</a> <a href="https://italianamericanimprints.omeka.net/items/show/534"></a> <a href="https://italianamericanimprints.omeka.net/items/show/526">Il Martello [main entry]</a> Publisher An entity responsible for making the resource available Casa Ed. "Il Martello" Language A language of the resource Italian Description An account of the resource See the general entry for Il Martello for the years 1918-1943 for the history of the founding and running by Carlo Tresca of this, perhaps the most famous and almost surely the most long-lived of the radical newspapers in Italian in the Italian American community. 1941-1950 anti-fascist Carlo Tresca Durante Il Martello New York periodical https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/73da7d53164231fa740b2881605758c8.jpg?Expires=1779926400&Signature=mafOFobLsA0TT3rXw79DGZT2spI2aZuVkldDOyoC-DZvZ7V6fDFbTdRzgwIXZC4WfEahNqZGJb2V7JGqRHSZ7PGm8Hf18nmr5RjZOwVx1xh722m1egvmBKM3Cua3VEmVyeqQnZpnnRs1-bLjg3W6WBxZnquCpQa5Iew2mXNfGi0rj6VLvO9WTV-NZPZwAfD5WOfVNYGGhIY1x9xmNVGUoesONfmMWSyAlftxMx0jaHxkWXgvyeK4yK2hBuAxDKcqV24wGqRwRn9Lc3PWNUkXRYJtqnODpHIGP5Jc%7En9TaSYgtvFCdYf8riTfoDk2mOpoksFNTBis7WVyASe%7EuHkDvA__&Key-Pair-Id=K6UGZS9ZTDSZM c70dca6269b0088d256c24bbc1dee014 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Il Martello [The Hammer], Vol 28, No. 2. New York: Casa Ed. "Il Martello," 28 Febbraio [February] 1943. Date A point or period of time associated with an event in the lifecycle of the resource 28 Febbraio [February] 1943 Relation A related resource <a href="https://italianamericanimprints.omeka.net/items/show/535">Il Martello, Anno 3, No. 1 - Anno 4, No 3 - 1 Gennaio [January] 1918 - 16 Febbraio [February] 1919</a> <a href="https://italianamericanimprints.omeka.net/items/show/536">Il Martello, Anno 3, No. 7 - ??? - 16 Aprile [April] 1918 - ???</a> <a href="https://italianamericanimprints.omeka.net/items/show/527">Il Martello, Vol. 7, No. 9 - 19 Marzo [March] 1921</a> <a href="https://italianamericanimprints.omeka.net/items/show/528">Il Martello, Vol. 7, No. 24 - 19 Luglio [July] 1921</a> <a href="https://italianamericanimprints.omeka.net/items/show/529">Il Martello, Vol. 7, No. 42 - 12 Dicembre [December] 1921</a> <a href="https://italianamericanimprints.omeka.net/items/show/530">Il Martello, Vol. 8, No. 8 - 4 Marzo [March] 1922</a> <a href="https://italianamericanimprints.omeka.net/items/show/531">Il Martello, Vol. 8, No. 14 - 27 Aprile [April] 1922</a> <a href="https://italianamericanimprints.omeka.net/items/show/532">Il Martello, Vol. 28, No. 1 - 14 Gennaio [January] 1943</a><a href="https://italianamericanimprints.omeka.net/items/show/533"></a> <a href="https://italianamericanimprints.omeka.net/items/show/534">Il Martello, Vol. 28, No. 3 - 14 Marzo [March] 1943</a> <a href="https://italianamericanimprints.omeka.net/items/show/526">Il Martello [main entry]</a> Creator An entity primarily responsible for making the resource Carlo Tresca Publisher An entity responsible for making the resource available Casa Ed. "Il Martello" Language A language of the resource Italian Description An account of the resource See the general entry for Il Martello for the years 1918-1943 for the history of the founding and running by Carlo Tresca of this, perhaps the most famous and almost surely the most long-lived of the radical newspapers in Italian in the Italian American community. 1941-1950 anti-fascist Carlo Tresca Durante Il Martello New York periodical https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/c61bd40859a2a3e2a46b03ae383b98d6.jpg?Expires=1779926400&Signature=AI-VsXW3WpFi20KWnVbqXQMoMc%7EwNYrydY22hokOMoIDDW0jCG08kX-PRLn1X2BkwfwjLIOzU0UfZRmgjsiUCu70KG-9u8crpilVKP3B%7EywQlWqy5OHGC7EihprHd-P8Q95AWhZOAO5NEKBbvloW0bO%7Eu3rN1VRjJS92bdhio0oriS96CKT3WTFnFzyCGiU3aJkuyhts-TX87pW7-3Zto8obp%7EDofEmU1n1eyKkmzexTzMqmrE7dBvpa%7EG5PrfJyHWLVyPhTluF2vBgYnWR8f%7EYcMCA7GqZqyBuGgFQ-%7EPoLO3Oz2%7EtNSldFaaergaUqemO5vzSoLP8Xp4H0RaKvkg__&Key-Pair-Id=K6UGZS9ZTDSZM 7520228ae0b821055770b90b07f97af6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Il Martello [The Hammer], Vol 28, No. 1. New York: Casa Ed. "Il Martello," 14 Gennaio [January] 1943. Date A point or period of time associated with an event in the lifecycle of the resource 14 Gennaio [January] 1943 Creator An entity primarily responsible for making the resource Carlo Tresca Publisher An entity responsible for making the resource available Casa Ed. "Il Martello" Relation A related resource <a href="https://italianamericanimprints.omeka.net/items/show/535">Il Martello, Anno 3, No. 1 - Anno 4, No 3 - 1 Gennaio [January] 1918 - 16 Febbraio [February] 1919</a> <a href="https://italianamericanimprints.omeka.net/items/show/536">Il Martello, Anno 3, No. 7 - ??? - 16 Aprile [April] 1918 - ???</a> <a href="https://italianamericanimprints.omeka.net/items/show/527">Il Martello, Vol. 7, No. 9 - 19 Marzo [March] 1921</a> <a href="https://italianamericanimprints.omeka.net/items/show/528">Il Martello, Vol. 7, No. 24 - 19 Luglio [July] 1921</a> <a href="https://italianamericanimprints.omeka.net/items/show/529">Il Martello, Vol. 7, No. 42 - 12 Dicembre [December] 1921</a> <a href="https://italianamericanimprints.omeka.net/items/show/530">Il Martello, Vol. 8, No. 8 - 4 Marzo [March] 1922</a> <a href="https://italianamericanimprints.omeka.net/items/show/531">Il Martello, Vol. 8, No. 14 - 27 Aprile [April] 1922</a> <a href="https://italianamericanimprints.omeka.net/items/show/533">Il Martello, Vol. 28, No. 2 - 28 Febbraio [February] 1943</a> <a href="https://italianamericanimprints.omeka.net/items/show/534">Il Martello, Vol. 28, No. 3 - 14 Marzo [March] 1943</a> <a href="https://italianamericanimprints.omeka.net/items/show/526">Il Martello [main entry</a> Language A language of the resource Italian Description An account of the resource See the general entry for Il Martello for the years 1918-1943 for the history of the founding and running by Carlo Tresca of this, perhaps the most famous and almost surely the most long-lived of the radical newspapers in Italian in the Italian American community. 1941-1950 anti-fascist Carlo Tresca Durante Il Martello New York periodical https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/a2816aab9f2603a9a46055ec01d4e681.jpg?Expires=1779926400&Signature=koVvMh3gUuBySKA6x9YY87llozoYjsNGSrm-jFaK%7Erl2Yge%7Emv-XToApAwFwcfjwsxk1KyN73VvjcH1HjkulSX4eiXR4Tfk0qQ1xPyMz99qeyiEEbZn3k-xvyNbWwxL04JN45ApNPy-kr9IROOnF6%7EI0SqRVYFrR6m6fkOilZOfKn21jEZScOdDbrRzoxgyHJPSn6VeKxVpAR204PATMAcLsi2nE8GcV6fqv1MmJ-WC9hm5SjarHBpOqQWvjL0FxFkDER-z4sJjo3QxxcERQajdt1ZrKX2RZMHHkivd8Ld5B5RynyTtBkLeNNFur2DEf3dIOvyoID5RiT%7EVcBUJ7qQ__&Key-Pair-Id=K6UGZS9ZTDSZM 224686bfbe963feb70517a64b69d14c4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Periodicals: newspapers and magazines Description An account of the resource The collection is rich in hard to find magazines and/or newspapers like Ernesto Valentini's Zarathustra, Vincenzo Vacirca's Il Solco and La Strada, Aldino Felicani's La Controcorrente, Il Proletario, Enrico Arrigoni's Eresia, Carlo Tresca's Il Martello and Guardia Rossa, Antonino Capraro's Alba Nuova, Arturo Giovannitti's Vita, Agostino De Biasi's Il Carroccio, T. Lucidi's Il Messaggero della Salute, Guido Podrecca's and Gabriele Galantara's L'Asino (this last mostly published in Rome) and others. As Francesco Durante rightly observed in Italoamericana, understanding the contribution of journalism among Italian Americans - almost solely in Italian at the outset - to the community life, as well as to the culture of the immigrant community, is central to understanding that community. Virtually all of the writers whose book-length works we see and celebrate in the collection, whether political or not, began their writing careers with newspaper or magazine writing. Some even immigrated to the U.S. precisely to do just that, but those were exceptional. The politics of the magazines and newspapers ran the gamut from left to right, and some - e.g., Il Messaggero della Salute - were not really political in that sense at all. The separation often observed between the political and the literary sections of the magazines is surprising and deserves examination all by itself: one can find the stories of Clara Vacirca, married to and sharing the political leanings of the socialist Vincenzo Vacirca, published in the right-wing Il Carroccio, and less overtly political writers like Salvatore Benanti and Federico Mennella often contributed literary pieces to leftist periodicals like La Follia di New York. For example, Mennella wrote the dialect column for La Follia for some time. The catholic nature of the magazines in the literary culture of the Italians reflected one of its strengths. Whatever the mixture of news from Italy and from America, whether "news events," or political or cultural commentary, short stories or poems, whether from Italians still in Italy or immigrants in the U.S. or translated from German, French. English or Russian - all of which were quite prevalent - or elaborations of philosophies of living, sometimes imported but sometimes "home-grown" in the U.S., the magazines and newspapers provide a rich insight into this world. Beyond the articles themselves were, in many cases, letters to the editors and lists of new subscribers (and the cities and towns they lived in), both of which enlarge our understanding of what parts of the immigrant community were reached and affected by the printed word. This, too, is a subject that deserves close examination, and has been discussed recently, for example, in a fine essay by historian Adam Quinn discussing whether the Cronaca Sovversiva of the anti-organizational anarchist Luigi Galleani was a "seditious rag" or a community newspaper - or both. Quinn clearly concludes that it was both. The same can be said for Il Martello, La Follia di New York, Il Carroccio and many of the other political magazines - they were part of the "glue" that held together the Italian community quite beyond their immediate political messages. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Controcorrente: organo d'agitazione e di battaglia contro il fascismo /The Countercurrent: against all fascism everywhere. Boston, 1940-1946. Description An account of the resource Aldo (Aldino) Felicani, a typographer and anarchist who started newspapers in Cleveland and elsewhere in the U.S. and who was intimately involved in trying to save Sacco and Vanzetti (he was the treasurer of the Sacco and Vanzetti Defense Committee in 1920-23, q.v.), founded La Controcorrente in 1938 in Boston with Gaetano Salvemini, Ernesto Rossi and Piero Calamandrei. The collection contains 10 issues of the newspaper, which contained a Section One in Italian and a Section 2 in English, beginning with No. 9 of Vol. II, September 1940, when La Controcorrente was published monthly, evidently having begun in January 1940, and also has the October and November monthly issues for that year. It continued as a monthly through March (the collection has the February 1941 edition), then became bimonthly with No. 3 of Vol. III, the April-May issue. (The collection contains that issue and Nos. 4 and 5, the June-July and August-September issues.) It returned to monthly publication with No. 6 (October 1941); the collection has the January and February 1942 issues, Nos. 9 and 10 of Vol. III. The tenth issue in the collection is from August 1946, Vol. VIII - No. 2. Some issues were as many as 8 pages each of Italian and of English text (without illustrations), but most were 4 pages each of Italian and of English text. In all cases, Section Two (the English language version) is enveloped inside of the Section One in Italian. The 1940-1942 issues are all fold in the middle newspaper style. The 1946 issue is a tabloid. La Controcorrente was unique among journals of the Italian American left that I have seen. It was, plain and simple, anti-fascist, that is to say, the tone and, I suspect, the origins of the newspaper were not anarchist-become-anti-fascist (despite Felicani's early politics), socialist-become-antifascist (despite Salvemini's early politics), or communist-become-antifascist. Consistent with that, and perhaps reflecting the single-mindedness of the intellectual Salvemini, as noted it lacked illustrations unlike, say, La Cronaca Sovversiva or Il Martello, on the left, or Il Carroccio, on the right, as if to say "We mean business, and that's the business of anti-fascism, not of entertaining you or creating a cultural as well as political magazine." Anita Pasolini was the editor of the 1940-1942 issues; publisher Felicani was the editor by 1946, although I do not know when that change occurred. The most frequent contributor in all years was one of the founders and also the most famous writer: Gaetano Salvemini, a professor of history at Harvard at the time who had become an American citizen in 1940, some years after the Fascists revoked his Italian citizenship (in 1926) and he was dismissed from the faculty of the University of Florence. Initially a member of the Italian Socialist Party, Salvemini evolved into a kind of independent humanitarian socialism divorced to a greater or less degree from actual politics. Indeed, even his friends in the U.S. among Italian exiles years later, like Max Ascoli, declared Salvemini was "terrible" at politics. In exile since 1925 in France (where he collaborated with the Rossellis to form Giustizia e Libertà), England and finally the U.S., Salvemini was above all an ardent anti-fascist. By 1940, when La Controcorrente began, Salvemini had become a U.S. citizen. From the beginning, in 1940, La Controcorrente attacked Mussolini and fascism for the damage it inflicted on Italy and Italians, and declared that contrary to the criticism leveled against it, was not "Communist-inspired." (The articles in the two sections were not for the most part the same ones translated from one language to the other.) Indeed, in the box providing its address and other particulars, the newspaper also proclaimed its purpose as being to "present the truth concerning Fascism wherever it exists . . . We are concerned with no political or economic cause." It also notes that in the February 1941 issue that in its two years of existence, it had published in its English section articles by Hemingway, Angelica Balabanoff, George Seldes, and R.H. Markham, among others. (I found an article, as well, that Upton Sinclair was said to have offered to provide to the newspaper.) In the Italian section, the writers included, beside Salvemini, Glauco Glauci, Arturo Giovannitti and Libero Martello; and as seems to have been a practice in virtually all the leftist and other Italian magazines and newspapers in the U.S., there appears a list of recent subscribers, a list that includes at times familiar names (e.g., Virginio De Martin, the publisher of Renzo Novatore's Verso la nulla creatore, q.v.). Besides attacking Mussolini, Henry Ford and Charles Lindbergh incited its ire; La Controcorrente also attacked New York's Il Progresso Italo-Americano - or more particularly, its publisher, Generoso Pope - for its constant praise for Mussolini and fascism, while at the same time with its articles critical of American politics and politicians. While Il Progresso proclaimed it was an "American" newspaper promoting American ideals, it was staffed with Italian journalists who, by diktat from Mussolini, should not have been allowed to work in non-Italian newspapers as foreign correspondents. The criticism was consistent with that of Carlo Tresca, who famously called Pope a "man of straw." La Controcorrente had similar criticisms of James Donnamura's La Gazzetta of Boston for its silence about General Franco and the events taking place in Spain. Of great interest is that the 1946 issue - as noted, in tabloid not middle fold style - contains 16 pages all in Italian. It contains, as in the earlier issues, an article by Salvemini, but the absence of an English language section, unlike in the earlier issues is surprising. Also, unlike the earlier issues from 1940-1942, where Felicani's name as publisher is nowhere to be found, in this 1946 issue, Felicani is listed on page 1 as both "editor and publisher." Of course, the most important change is that by 1946, Mussolini is gone. So the criticisms throughout this issue are of Palmiro Togliatti and current Italian electoral politics, the peace treaty conference in Paris, interference in Italian politics by the Vatican, and a sarcastic article about the "big lasagna Neanderthal from Savoy," an article trying to shed light on the crime of the assassination of Carlo Tresca, and several criticisms of Il Progresso and other "cafoni" (boors) in New York for their support of the Italian Labor Council. While still enlightening and entertaining, without Mussolini as the focus of its anti-fascist efforts, La Controcorrente seems by this time to have lost its way somewhat. The absence of an English language version suggests that its diehard readers in 1946 were fighting old battles of less interest to English-language readers. I would be surprised if the newspaper continued long after this issue. The collection includes: <a href="https://italianamericanimprints.omeka.net/items/show/543">La Controcorrente, Vol. 2, No. 9 - September 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/544">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/544">, Vol. 2, No. 10 - October 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/545">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/545">, Vol. 2, No. 11 - November 1940</a> <a href="https://italianamericanimprints.omeka.net/items/show/546">La Controcorrente</a><a href="https://italianamericanimprints.omeka.net/items/show/546">, Vol. 3, No. 1 - February 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/548">La Controcorrente, Vol. 3, No. 3 - April-May 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/549">La Controcorrente, Vol. 3, No. 4 - June-July 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/550">La Controcorrente, Vol. 3, No. 5 - August-September 1941</a> <a href="https://italianamericanimprints.omeka.net/items/show/551">La Controcorrente, Vol. 3, No. 9 - January 1942</a> <a href="https://italianamericanimprints.omeka.net/items/show/552">La Controcorrente, Vol. 3, No. 10 - February 1942</a> <a href="https://italianamericanimprints.omeka.net/items/show/553">La Controcorrente, Vol. 8, No. 2 - August 1946</a> Creator An entity primarily responsible for making the resource Anita Paolini, Editor Date A point or period of time associated with an event in the lifecycle of the resource 1940-1946 Language A language of the resource Italian 1941-1950 anti-fascist Boston Gaetano Salvemini magazine https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/c6233e8123b06754e6b460863d1bb911.jpg?Expires=1779926400&Signature=HU0U%7E3dNRfct75xNDYelP9awEYiLnbKgXon-dZL-e8DK6IPWe3WZTkf54XvXqnSU2DuLFWqbm4GAIlF%7Ect4CF35O7Vg3ETh6N7%7Eo%7EGHsshuBtNYkeRbjDPnoIAMomEbw9jhjbfCL0sMjmI%7EfM201pqzjfoqO35ZIMLrqx%7E5HIl9ocY%7E2PT91tUD8bFwrvt0to-Sn4bhbwXI%7El3s7qQJBW4nAqVgmc-yluNkS7EainSoxho9l3U6eDxZMXN4An2N0vpbYDB6omeMbVXcS1KKpZYC77J8eOMnWtyXRsuW55symCfZGWiciotscQ-0PcUnQSt%7ETGxcjO8u67dM4OSOYCQ__&Key-Pair-Id=K6UGZS9ZTDSZM 7797b697e7e33bcc034d0c638b7a9267 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/5fad1c179cb344bdf691eb0290daf2de.jpg?Expires=1779926400&Signature=ikYOtAyZgtc20Sx90w1FPSzobL8IgKduH4T7qu5yt2eP7RtBgyqzwuaSag8i6WESMwLHggiPnUBkcP5dIdkUzPROyZu76vnzveuJ3XCegIPZA5QiDCK24O2GZkjcGSAbpUawA2x55nrPAZQmxy46hXG3B-cR0VqpQMdUjyQbVSgoUbfgdJkq%7ELfnwsajiRJrCeSqy7vFpuBGsDyoGErB47Qi8eGdxm2dlayLvoKsL5U2XzqfS9zbhfO5Otl9Ijd2HgqbuU0fKW9t0HvtLkkF7giD4-hKA4OmIlm%7EPvCDOfV6sxwTTMKpL9WvcA1x1JNEpCYq4OjcsWfDAKpDDpeK8w__&Key-Pair-Id=K6UGZS9ZTDSZM b70d3508350ec04ba7145d06b5375d92 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Amici Italo-Americani! [Italian-American Friends!]. New York: Commissione Italiana del Comitato Statale di New York del Partito Comunista [April 1942] Creator An entity primarily responsible for making the resource On[orevole]. Pietro V. Cacchione Description An account of the resource 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. 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. Publisher An entity responsible for making the resource available Commissione italiana del Comitato Statale di New York del Partito Comunista 1941-1950 communist handbill New York Peter Cacchione https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/628cb27e822dfa4449ce89203ac347a9.jpg?Expires=1779926400&Signature=NhT8wFMpIEkLOeHNEdtBFMd19Dl9Tnz8xYVf9vvjnj72Uy5odomiF8KUTZufHDJN8BFyUhcpd6dTvp3iB%7EuxOVSwRg-qgN0V2ZMEecaINPynsu3NnZ6UgoEHOly7SbPzBgZS9r5YBNkrR8V-c5ynI4QkQGrrwATUXUR6%7ExPkuOCAXbpl8b2X%7Etuv30aY9ubE81wEcufPrCfljDOK7V68-uXiiajjd7T02NULBuibFrFLXbmnGUtFDoaWnd5I0nwdNEirJ964NurVmWouIY0GCT%7EpLFXQV0dG-aapcJ8ppkZwDqYhP4Xknhv26vgjLE7WUuR%7EgU6jEDWiL-Z0tBsYog__&Key-Pair-Id=K6UGZS9ZTDSZM 7bcee51dd5ec7f454f4ef2abc886233f https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/b37a42e80a007177f3f586a80ac3a4e4.jpg?Expires=1779926400&Signature=RRNlUZYSf7B4IZA823%7EfaYmPojStgw-m2J-oFzQIbUWMSFjAkoKO-mfpAkxsbyL-S1jt6L2v5p-nxntsDbkgWWrlj5bAWWYf19zCYbkJiTxdm8qw4atBkCIVahDm5Fpai%7EG-J4dvg8C8n%7E763ftrhwj4BNmb7omOJa4xHbxL0RmBW2b-CHcq7p31Lbd4zEMWtP7Vwl9HIXU0ACNKb2cWgt9U1wOvQD8SO5l774MxvaOs%7E6TSHxNkD4ZI9WXyWZu0NbXm%7EGkwN-xz%7Ew9P7kEu3QYwqH6r7yjQX6Vz9B2fJUKD47ZQ%7ET9VoQt3jPSIcc6I0Z7ZgKHA7kIt0Xo5IthORg__&Key-Pair-Id=K6UGZS9ZTDSZM 5ef220c051a194d0acf6ab30a91a59cf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Political subversives I: The bibliographic travels of Luigi Galleani and Armando Borghi Subject The topic of the resource Consistent with their travels to speak with their "disciples" and the international nature of anarchism, these two leaders, Galleani and Borghi, also published in a wide variety of places in the U.S., Italy and elsewhere. Doing so was often a function of evading crackdowns on subversives by U.S. postal authorities, or in Borghi's case, avoiding being imprisoned and possibly killed in Italy during the Mussolini years, when publishers, printers and authors all lived in fear. Description An account of the resource Luigi Galleani Galleani was one of the anarchist movement’s most eloquent writers and spellbinding orators, heir to the great Errico Malatesta in Italy and elsewhere, a political agitator and charismatic anarchist leader, and a prolific political publisher. Mentor to Sacco and Vanzetti, the peripatetic Galleani was born in Italy, and lived in various venues in the U.S. from 1901 until he was deported back to Italy in 1919. He first settled in Paterson, New Jersey in 1901 to be the editor of the then-most important anarchist journal, La Questione Sociale. Then, after starting the newspaper Cronaca Sovversiva [Subversive Chronicle] in 1903, he moved to Lynn, Mass. (see his Madri d’Italia, under the pseudonym Mentana), until the postmaster in Lynn refused to mail Cronaca Sovversiva and his books, at which time he repaired to Barre, Vermont (see his Verso il comunismo, among other examples of publications from that venue). He was prosecuted for violating anti-leftist laws, especially the 1918 Anarchist Exclusion Act. This act, which permitted the government to shut down publication of the Cronaca Sovversiva in that year (and deport Galleani and other editors of the newspaper subsequently), had been passed by Congress largely in response to the bombings that Galleani incited his followers to undertake (see his Faccia a faccia col nemico) through his publications as well as his personal direction: he even published a manual on how to make bombs (“La salute è in voi!” [Your salvation is up to you!]). Galleani’s deportation in 1919 arose as much from his newspaper and pamphlet publications that were themselves regarded by the authorities as incitements to violence, as it did from his actual and attempted bombings. He and his followers of the individualist school of anarchism were wary of not only electoral politics but also of syndicalism, i.e., the use of trade unions to bring industry and government under the control by direct action, such as strikes and sabotage, the preferred methods of Carlo Tresca, among others. Because of these doctrinal differences, as well as Tresca’s immense personal charm and popularity, Galleani’s followers were even more determined to destroy the reputation and thus the effectiveness of Tresca, despite the anti-fascist views they shared in the 1920s and 1930s. Like his unlikely ally Armando Borghi, Galleani was internationally well known, so that even his deportation from the U.S. hardly put a stop to his influence. L’Adunata dei Refrattari (The Gathering of the Recalcitrants) became the successor newspaper to La Cronaca Sovversiva after Galleani’s deportation in 1919, begun and run by his followers in the U.S. after Galleani’s deportation in 1919, and edited by Raffaele Schiavina. Its publishing arm released many full-length works (typically, collections of shorter pieces) like those exhibited here, as well as pamphlets, sometimes without Galleani’s authorization, due to his being unreachable in exile on the island of Lipari. L’Adunata also published Galleani in Europe, e.g., in Rome as late as 1947, often using the same printer’s mark (a mermaid-like torchbearer) he used in the earliest of his works. The international character of the movement had long been clear: in one work, readers of an Italian-language edition of Organizzazione e anarchia, published in Paris (by L. Chauvet) sometime after 1925, are urged in a message in the inside rear cover to buy a copy of Galleani’s La fine dell’anarchismo?, published in the United States (Newark) in 1925. Armando Borghi Armando Borghi’s unflattering biography of Mussolini (Mussolini in camicia) was too dangerous to be released in Italy: after Mussolini’s rise to power in 1922, publishing a work criticizing Mussolini soon became impossible. Simply for speaking in the Italian Parliament in June 1924 against fraud (and violence) employed by Mussolini in the recent election, United Socialist Party chief Giacomo Matteotti was within days thereafter murdered by the fascists, a politically explosive development that became a rallying cry of anti-fascists for many years. In 1925, measures that gave the government powers to gag the press were passed. Emergency laws in 1926 suppressed every political party and every newspaper other than those of the fascists. It was in that context that anarcho-syndicalist Borghi arrived in the U.S. in or about November 1926, where he was joined by his lover, Virgilia D’Andrea (see her works in the collection). Shortly thereafter, in 1927 he published Mussolini in camicia in Italian in the only safe place to do so at the time, New York. This work became internationally popular, was translated into French and published in Paris (1932), in Amsterdam in Dutch (1933) - the collection has recently (in 2021) acquired a Dutch copy - , and then translated into English from the French edition, not the Italian original, and published in London (1935). Mussolini in camicia was again published to America, but in English, in 1938 using the same British translation, and was not published in Italy until 1947, not long after the war’s end and Mussolini’s execution. In Italy, Borghi ranked second only to the legendary Errico Malatesta as its most important anarchist, so that when he arrived in the U.S., Borghi expected to be the foremost Italian anarchist there (Galleani having been deported some years before). However, Carlo Tresca, director of Il Martello, who as a fellow “organization” anarchist might otherwise have been his natural ally, was in the way, and Borghi surprisingly thus aligned himself with the anti-organizational anarchist Galleanisti and their L’Adunata dei Refrattari, a move that he eventually came to regret. Like the Galleanisti, Borghi attacked Tresca not only on ideological grounds but also on personal ones. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mussolini in camicia [Mussolini in a Nightshirt]. Bologna: Mammolo Zamboni, 1947. Description An account of the resource See the lengthy history of this work in the description of the 1927 Edizione Libertarie edition published in Italian in New York in order to understand where this edition fits into that history. Borghi's work was only published in Italy (of course, in the Italian original) after the war ended, and in several editions (in 1947, as here), but then also in 1961 (copy in the collection, too). Its republication in Italy not only just after Mussolini was deposed, but also another decade and a half later testifies to its enduring (albeit belated) interest in Italy. Creator An entity primarily responsible for making the resource Armando Borghi Publisher An entity responsible for making the resource available Mammolo Zamboni Date A point or period of time associated with an event in the lifecycle of the resource 1947 Format The file format, physical medium, or dimensions of the resource 17.5 x 14cm; 179 p. Language A language of the resource Italian 1941-1950 anarchist anti-fascist Armando Borghi Bologna Mussolini https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/6571f268737dc5db008db977fec0b01f.jpg?Expires=1779926400&Signature=aHiGbXONy-KUQbjg7TRilmJt06rT-rVPPeD7GfY7hRSseYPlqQ8F0heyVwrUK5LOpn7j3ANDzGd5oI%7E381TKAG59IP50yu-nTr-6iyFz79YrekhoBoenARqh%7ElANY3rsFq3EXvSaLFMXmTPvTj5ac-ccc8CTmR-cAtWrq7isZ-sd4qnGiOOxabi5d2LWuiedcURNErU04bkqJeNpKblcMWzYF1xrp5AqFmwy7UTSyoxW93Ke9cCLs-u4zr4KwxwlDM5meCFgsrK1iLIqXwh5LKpqEbH61kEkCdcARs%7EmGjPIXcbr6p2f-i4DmB76DGK3y9tdK1kNB2Qlcq3JEKp-1w__&Key-Pair-Id=K6UGZS9ZTDSZM 9723e12152526fbd5299c73328860592 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/bbe0beef6c8371a4fdb4ef64bb2f4dc5.jpg?Expires=1779926400&Signature=dGGftijyX5-BGFqbSYx1N3oMtxjogpSdpe8ljBQ3a2SG3v96XNZt-mMctd7rOSNijm4c%7ENBlGNPe%7EH0pHx6dkZJ7dOsUXO8gaQny6dvT4PxrNEpfnFg0EzRenvqhnsjwVmQCnhGOfZKw4w8YVfUNdMewoF5RNhHI3MhH7wMHjElPx%7E6%7Eo3dSKFsKogIF%7Eox4RcXJ0Fw8%7EgnxeT5wNIH83G%7EdXdqW2WRkPfkeAw%7E9N3WkrEjGr1k86uFPST4doc0MY21Q%7ELNGdhZ2Uo7vEvyMMCtNtGh4dvoyiTilIeimZu9VA6bzrwlEI3oPKQO2ltBGUVHvDROGIWVXT-yTAznVxw__&Key-Pair-Id=K6UGZS9ZTDSZM 04e6dad5f513a478adf3a60f3447ca6d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Learning the languages: For Americans and Italians Subject The topic of the resource Grammars and dictionaries - at first, imported from Italy, ones teaching English to native Italian speakers - were later supplemented by "home-grown" (that is, made in America) grammars especially designed for Italian immigrants, not like the grammars of decades before, designed for Italians in Italy wanting to learn English. Description An account of the resource The “languages” here are, of course, both English and Italian. In ways that I could not begin to perceive when I started collecting works in Italian, it was by no means a one-way street - that is, with Italian immigrants just wanting to learn English, with Italian as the vehicle to ease their way into learning English. Indeed, the two efforts are intimately related. First comes the “pre-history” to the world of the late 19th/early 20th century immigrants to New York and elsewhere in the U.S., namely, a period earlier in the 19th century, when Americans wanted to learn Italian, whether in colleges or with private lessons. This effort starts with Lorenzo Da Ponte, who came to the United States in 1805, and whose impact in those years cannot be overstated. Beginning with Da Ponte in the early 19th century, and continuing throughout the century, Italians delighted in teaching Americans how to read, speak and write in Italian. This collection of poetry was gathered mostly as teaching material – grammars, readers and dictionaries – that were in widespread use in the United States, primarily in the Northeast. Da Ponte wrote and published simple dramas for his private students and for those at Columbia College, where he became its first professor of Italian in 1825. Da Ponte and his brother Carlo maintained a bookstore as well. They shipped such publications throughout the United States wherever Italian was taught. Italian exiles in mid-century taught Italian to Americans eager to learn the language. Much later, in the late 19th century, Augusto Bassetti, Angelo De Gaudenzi and Francesco Zanolini, developed their own grammars, dictionaries and readers specifically designed to teach English to Italian immigrants. But the goal was also stated to be (particularly in Bassetti’s case) to help Italians simultaneously improve their knowledge of standard Italian, and thus enable them to read the Italian-language newspapers and even more the book-length publications that would soon come rolling out of print shops in New York and San Francisco. In the early 20th century, Alfonso Arbib-Costa published a series of “lezione” books designed to help Italian natives to learn English, as well as English-speakers to learn Italian. Perhaps even more significantly, Arbib-Costa’s lesson books, and those of Alberto Pecorino, helped Italian immigrants who brought to America largely an oral language, more typically dialect than standard Italian, learn how to read standard Italian. This development created and sustained a class of readers for the newspapers and magazines, and ultimately, the critical mass necessary for the development of a literary culture. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nuovissima Grammatica Accelerata: Italiana-Inglese ed Enciclopedia Popolare con Pronunzia. Divisa in 11 Parti [Newest Accelerated Italian-English Grammar and Popular Encyclopedia with pronunciation [guide]. Divided into 11 Parts]. New York: Italian Book Co., [1944]. Creator An entity primarily responsible for making the resource Angelo De Gaudenzi Format The file format, physical medium, or dimensions of the resource 20.5x14.5cm; 415 p. Description An account of the resource See a complete description of this work in the entry for the 1914 edition. We can date this edition approximately at 1944 because the last date in American history in the last section of the work is dated then in the present: translated, it reads, "The second world war promises a victorious and rapid conclusion with the complete liberation of Italy, France and other countries dominated by Germany, and a fruitful and lasting peace." This edition, or perhaps even a later one, is advertised in a 1951 work, the most recent one in the Collection of the Italian Book Company, namely, in Vita, gesta e amori di Salvatore Giuliano: compilata da U[mbeto] F[ragasso] [Life, Deeds and Loves of Salvatore Giuliano: compiled by U[mberto] F[ragasso].] New York: Italian Book Company, 1951, q.v. 1941-1950 Angelo De Gaudenzi English grammar Italian Book Company - Società Libraria Italiana New York https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/5c3b5045ab1914c467353e50b62792c4.jpg?Expires=1779926400&Signature=tHeOOhHn0wNJaFtoG843CMIAHjPzOKt7zPgSGu4KkdGxM1o1IfAF4EY0KaTGay43oHlCcZbdemZDHMvERgz9OtpG8fzSxnUSD9etVuXyPDROLCxCrjALR8Ol92vmqqGkOLXOPUUwHLM6lRmSNmI1vzBEyog62qN%7EerQZCxXYX34T26%7E5a1Yn5rKYSJS3CAUVnIJ7DdDtZIWWlS%7Eec32gC9DCxlflt-tvkr6rkI%7E%7EDTpiZTU9FAvFwyiR7i-MgGFRzrrPD35MCt8mK1i8OwgkDMfqRn%7EUlhEFdW0dy2v-rraVJcIbg2MdaS0ro0dP-oWvpLkBZQoiu2EqSfnE6Zch0Q__&Key-Pair-Id=K6UGZS9ZTDSZM 25cdaec7bde69ad57dc265d97fd14731 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/e201384ed35e2bdcb16988660228ee0f.jpg?Expires=1779926400&Signature=GQNPlipuwZ2vUIfVqBKSAXkxXh57xsVJsJ38sQiZKgEzQq1V8u7OSFwvcu3FWiE-pT8WWTZp-GrHokFaVNnX5SoPq4YpRuWSBvphR4zWBl2WHdy7zBE1f7eIHYGTgFs0phD8se-dBgrGvaXwISHPBzildMnOkYpe8OJXkakM4FMyrcqzPtoA0sPt%7ExfoiCIYqSjpP8RbkM5jZaOJJ0x1SKMtMzuDWlS4iMf61-Gkbv7xJCEK-TIwJM5cnoIKchpRyGNRnB84h9c%7EDWxrP3JZRJ5QrviozVfNkU5vtqY7sKasMflJ7qRU1s868-M4KLvdnAzzTOCdgD3NirYy9V72Bg__&Key-Pair-Id=K6UGZS9ZTDSZM 8a58f23b6275c2723ceeea21bf27b461 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Learning the languages: For Americans and Italians Subject The topic of the resource Grammars and dictionaries - at first, imported from Italy, ones teaching English to native Italian speakers - were later supplemented by "home-grown" (that is, made in America) grammars especially designed for Italian immigrants, not like the grammars of decades before, designed for Italians in Italy wanting to learn English. Description An account of the resource The “languages” here are, of course, both English and Italian. In ways that I could not begin to perceive when I started collecting works in Italian, it was by no means a one-way street - that is, with Italian immigrants just wanting to learn English, with Italian as the vehicle to ease their way into learning English. Indeed, the two efforts are intimately related. First comes the “pre-history” to the world of the late 19th/early 20th century immigrants to New York and elsewhere in the U.S., namely, a period earlier in the 19th century, when Americans wanted to learn Italian, whether in colleges or with private lessons. This effort starts with Lorenzo Da Ponte, who came to the United States in 1805, and whose impact in those years cannot be overstated. Beginning with Da Ponte in the early 19th century, and continuing throughout the century, Italians delighted in teaching Americans how to read, speak and write in Italian. This collection of poetry was gathered mostly as teaching material – grammars, readers and dictionaries – that were in widespread use in the United States, primarily in the Northeast. Da Ponte wrote and published simple dramas for his private students and for those at Columbia College, where he became its first professor of Italian in 1825. Da Ponte and his brother Carlo maintained a bookstore as well. They shipped such publications throughout the United States wherever Italian was taught. Italian exiles in mid-century taught Italian to Americans eager to learn the language. Much later, in the late 19th century, Augusto Bassetti, Angelo De Gaudenzi and Francesco Zanolini, developed their own grammars, dictionaries and readers specifically designed to teach English to Italian immigrants. But the goal was also stated to be (particularly in Bassetti’s case) to help Italians simultaneously improve their knowledge of standard Italian, and thus enable them to read the Italian-language newspapers and even more the book-length publications that would soon come rolling out of print shops in New York and San Francisco. In the early 20th century, Alfonso Arbib-Costa published a series of “lezione” books designed to help Italian natives to learn English, as well as English-speakers to learn Italian. Perhaps even more significantly, Arbib-Costa’s lesson books, and those of Alberto Pecorino, helped Italian immigrants who brought to America largely an oral language, more typically dialect than standard Italian, learn how to read standard Italian. This development created and sustained a class of readers for the newspapers and magazines, and ultimately, the critical mass necessary for the development of a literary culture. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nuovissima Grammatica Accelerata: Italiana-Inglese ed Enciclopedia Popolare con Pronunzia. Divisa in 11 Parti [Newest Accelerated Italian-English Grammar and Popular Encyclopedia with pronunciation [guide]. Divided into 11 Parts]. New York: Italian Book Co., [1944]. Creator An entity primarily responsible for making the resource Angelo De Gaudenzi Format The file format, physical medium, or dimensions of the resource 20x14cm; 415 p. Description An account of the resource See a complete description of this work in that of the 1914 edition. We can date this edition approximately at 1944 because the last date in American history in the last section of the work is dated then in the present: translated, it reads, "The second world war promises a victorious and rapid conclusion with the complete liberation of Italy, France and other countries dominated by Germany, and a fruitful and lasting peace." 1941-1950 English grammar Italian Book Company - Società Libraria Italiana New York https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/dd439a04729fb4a41eac0c5a68b90b29.jpg?Expires=1779926400&Signature=ktI6wJVJx2AaL8D0X0nG4h5bp6JcfNJFvNmVRt0QpMwjrwqOaPDNjIcNB%7EwNKn5lN%7E4iZArzdLD5MlsM1WaRxw-cSIixONi7iy1h8nPzL-40evCWjGsnwCz0RZ%7EoOUXr0506uLLTVMvXI-NnAUnIGC2J6kLuSUfaMIN38Q8REsOCApM7uqdajVxGUaIvSQephEGbD8X049RPgmHZ1oOLkyo0hzmm-z05GwaqpXU1WRYbhjdNfT2mHswUTnakvruvXeX-HoNXjbRjMkBfadFrq8YO8nT64%7Ebzx6IVAEKj3dSTY6jCtQBu0kf-XLABldDuN7rC03EfK1b2uC-xq5pirA__&Key-Pair-Id=K6UGZS9ZTDSZM 79fda7d55449dd2b9a27db2303d65542 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/2765335df79c9f00e5ff413e528e1ca0.jpg?Expires=1779926400&Signature=Vd5KXDk66KrsC04XNmDn7wJwFGDRY6KhNbwlqYKrURX9n114vacW-ePQCESJ8xOZCPbEhIMPOfAwlSNoYaNXzvn8flaDL2XFCdwR0xp5%7EHxcs8xnoWoVtwt2AeqL6s16E2dqeq-8M0X9q%7EQKK5VKU8ZIJVsrjy9BF41g4K931smbOIYDASpyKL9tAyMYo-LNZ86PQ00WdmKibh6Y3bQJRozGB4DTy4jcIigDpya9RCSmP-XG2qr4fDpCSkfivGjiTQQk06%7EJthKHSCxO0xENgH4YORoSEowA47bByD9DBI7hzN7uonMYqmCGcbaVQ%7EAree%7EJHsrj1MOkXG70KseI8A__&Key-Pair-Id=K6UGZS9ZTDSZM 2ba2ffccd3e7e425e6c9cff8aa2c4c5d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Learning the languages: For Americans and Italians Subject The topic of the resource Grammars and dictionaries - at first, imported from Italy, ones teaching English to native Italian speakers - were later supplemented by "home-grown" (that is, made in America) grammars especially designed for Italian immigrants, not like the grammars of decades before, designed for Italians in Italy wanting to learn English. Description An account of the resource The “languages” here are, of course, both English and Italian. In ways that I could not begin to perceive when I started collecting works in Italian, it was by no means a one-way street - that is, with Italian immigrants just wanting to learn English, with Italian as the vehicle to ease their way into learning English. Indeed, the two efforts are intimately related. First comes the “pre-history” to the world of the late 19th/early 20th century immigrants to New York and elsewhere in the U.S., namely, a period earlier in the 19th century, when Americans wanted to learn Italian, whether in colleges or with private lessons. This effort starts with Lorenzo Da Ponte, who came to the United States in 1805, and whose impact in those years cannot be overstated. Beginning with Da Ponte in the early 19th century, and continuing throughout the century, Italians delighted in teaching Americans how to read, speak and write in Italian. This collection of poetry was gathered mostly as teaching material – grammars, readers and dictionaries – that were in widespread use in the United States, primarily in the Northeast. Da Ponte wrote and published simple dramas for his private students and for those at Columbia College, where he became its first professor of Italian in 1825. Da Ponte and his brother Carlo maintained a bookstore as well. They shipped such publications throughout the United States wherever Italian was taught. Italian exiles in mid-century taught Italian to Americans eager to learn the language. Much later, in the late 19th century, Augusto Bassetti, Angelo De Gaudenzi and Francesco Zanolini, developed their own grammars, dictionaries and readers specifically designed to teach English to Italian immigrants. But the goal was also stated to be (particularly in Bassetti’s case) to help Italians simultaneously improve their knowledge of standard Italian, and thus enable them to read the Italian-language newspapers and even more the book-length publications that would soon come rolling out of print shops in New York and San Francisco. In the early 20th century, Alfonso Arbib-Costa published a series of “lezione” books designed to help Italian natives to learn English, as well as English-speakers to learn Italian. Perhaps even more significantly, Arbib-Costa’s lesson books, and those of Alberto Pecorino, helped Italian immigrants who brought to America largely an oral language, more typically dialect than standard Italian, learn how to read standard Italian. This development created and sustained a class of readers for the newspapers and magazines, and ultimately, the critical mass necessary for the development of a literary culture. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Grammatica-enciclopedia Italiana-Inglese per gli Italiani degli Stati Uniti [Italian-English grammar-encyclopedia for the Italians of the U.S.]. New York: Libreria Nuova Italia, ed., 1949. Creator An entity primarily responsible for making the resource Alberto Pecorini Format The file format, physical medium, or dimensions of the resource 19x14cm; 480 p. Date A point or period of time associated with an event in the lifecycle of the resource 1949 Description An account of the resource See entries for the 1911 [1912] editions of this work, when a copy cost $1.25. This 1949 edition cost $2.25, a fairly modest increase given the passage of 38 years. Note that the publisher was no longer Nicoletti Bros. My guess is that when Nicoletti ceased to exist, or ceased to find it profitable to publish this work, the copyright passed to Pecorini himself, who lived to 1957, and Libreria Nuova Italia (copyright on verso of title page reading "New Italy Book Co.") was his own imprint. 1941-1950 Alberto Pecorini Durante English grammar https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/6dbc18e7262014ac53191bae9b800baa.jpg?Expires=1779926400&Signature=Zz7YUcEUhHRTZ%7E1NivAcmul1245K%7Ee6pO8UD7R0Z%7EVnAR3sIDcVojs3QUpIh2SK5X3am5cw0LY6dmppPmcVqYzgaT1C1dZaGJZNVxFZ5snCOolN-BG0oW0ODGsKoCYm1N3gRSVQOdCb3j4lNh80ZM8hCMseP6vvfarBzwXNwzELUCakvHZww7gOqH6l8GKOg9ZDJM%7ELptFvGHS0UOA6yEN4751lzAN%7EO-ezdLN05O8voHBWFkD2M3tk68b5v1lLzYTTGaFlUpFhrNYPYyt8G-xCJcmRVtblgu87U4w0pXHLyxSTctqxQypNRepJne7ROGV2XsQ8J1c90ECYEaePC2g__&Key-Pair-Id=K6UGZS9ZTDSZM 23e3b6f1a69f8a3905c20788af9c274c https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/b11da9bcbc6ad4bc3250289e48fd1bc6.jpg?Expires=1779926400&Signature=d8DoDp4ICe6GdV0aUiIgaglyGPWNJwH4oO4yqUoIrQ2zpwBrkezvyw8TtPzmzQZ%7E3VgxLKeGzVAo4viXTpHxmBOP-sLIXEr6xtF69X4M4efQL8Ed0mUgJcX2M9MjVhSFtHTD3lQ3AHigkGeZG1%7EU0NAqrUmHArMyy6upDAoUnEoqiPOedGrcb5p9TNCAaniFXU-7fi-v0l2m0hd4htGyk2J43pXwl-6XzWCgyphZ40DfJ9PtHtyPuWERseEnXZ%7EufKffHxIgx0e-07M3Q%7EkIW0i9iFBmrYzZ7VT8srQG9Ma5zCZbhskXFuGkyh69QdE3FS9IMFmnkWjQgRAEnq2kLQ__&Key-Pair-Id=K6UGZS9ZTDSZM 2bcb904a532363cba023dfd3d7e3e990 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Scissione e nuovo schieramento nel campo sindacale mondiale [Split and new alliance in the world-wide syndicalist camp]. New York: American Federation of Labor, International Labor Relations Committee, 1949. Description An account of the resource This 16-page pamphlet is a republication of a magazine article, that is, "Ripubblicato, in seguito a speciale autorizzazione, dal numero di gennaio 1949 de FOREIGN AFFAIRS, rivista americana trimestrale, 58 East 68th Street, New York [Republished, following special authorization, from the number of January 1949 of FOREIGN AFFAIRS, triannual American review, 58 East 68th Street, New York]." A long history of the relationship between the International Ladies Garments Workers Union (ILGWU) and the Italian left, with shifting alliances, precedes this 1949 work. In years past, the ILGWU, of which author David Dubinsky was president in the 1940s, had an uneasy historical relationship with Italian syndicalists who were also anti-fascist, as well as with Italian communists. One of the ILGWU's more influential leaders then was Luigi Antonini, born in Avellino (Campagna), who was then head of the famous Local 89. The split took place because many of its members dissented over the use of violence and, above all, because of the presence of communists. Going back to the 1920's, because the socialists considered the Anti-Fascist Alliance domineering under Carlo Tresca, in February 1927 they broke off from AFANA and founded the Anti-Fascist Federation of North America for the Freedom of Italy. Note that there was yet another spinoff from AFANA - the Anti-Fascist United Front, which in 1933 published a handbill in the Collection, Athos Terzani, Facing trial for murder on the false story of "General" Art J. Smith of the Khaki Shirts, will put his case before the people of Philadelphia at a Mass Meeting Friday, November 24, at 8 P.M. Also in the collection is a 1942 work, DRESSMAKERS ITALIANI, volete che la nostra Locale 89 sia la piu forte e la piu nita della I.L.G.W.U.? Votate per il "leadership" di Luigi Antonini! [ITALIAN DRESSMAKERS, do you want our Local 89 to be the strongest and sharpest of the ILGWU? Then vote for the leadership of Luigi Antonini!], in which Cacchione issues support for Antonini as head of Local 89 of the ILGWU. But only two years later, in 1944, in La verità su Luigi Antonini [The Truth about Luigi Antonini]. Brooklyn: Peter V. Cacchione Association, 1944, q.v., Cacchione criticizes Antonini for treating his union members badly, hypocritically (according to Cacchione) decreeing the lack of democracy around the world while he doesn't abide by democracy's rules in running his union The split discussed in the present work carried over from some of the same issues from many years before - support or not of communists among the ranks - but took place, of course, with the backdrop of the end of World War II and the different as well as continuing issues relating to support of or opposition to the Stalinist Soviet Union despite its membership in the Allies during the war, and the anti-communist hysteria in the U.S. that was soon to follow. Creator An entity primarily responsible for making the resource David Dubinsky Publisher An entity responsible for making the resource available American Federation of Labor, International Labor Relations Committee Date A point or period of time associated with an event in the lifecycle of the resource 1949 Format The file format, physical medium, or dimensions of the resource 21.5 x 14cm; 16 p. 1941-1950 AFL (American Federation of Labor) English original New York syndicalist translated https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/5f21781a89d48e779744e18a3bbbd1da.jpg?Expires=1779926400&Signature=RewNjCGaWNBwW8LxwXTlPE96VKar7TEG6HlYzusj2hNFp-jOn0fnsjo7hMTTnc-UQXNJuyU8-KyrVrOMsE-FCe4SsGzdVgd1GJlbFyNsaswSFr8mv0rIK5XkcfP3S9Hh6Q3STxtjZ3P11w9eaRcyGnsIBWaqgJzTlnjf0c696vAgO%7El6THae9vzQGwWX1iom2K5GsHUsO3BgwpoQHYPwCDcEweECzFUkikVXtB6IoNFmhZzwDBY9LyWIiYxkxnBjLGa0UkUHIMBgF7zSrTpfG5tq0wha-IgINRpqLAsvsLVUaU6hERilORPLP-6uSSIP4xWhHraxJkFAfJBJVC7icg__&Key-Pair-Id=K6UGZS9ZTDSZM 61e4a1b6cfae529b1134348a826eb986 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/a49283753fac7639b6db1bddfa7fbfe3.jpg?Expires=1779926400&Signature=QPWrTDkRkWF4wOcEiyyVyFsbUDh4RKON8akVr9h4W4RpXwhJzBBFgiXU2b19LppgbGdIe6XSoC7SucUfz5iFx02wXN-FA7VikebtYtELE1VFSNDWtTBlVeEA-nQoWQIB7iIuYvtAOCwZwarWkeXZD2QBeolTgPoq-KEdt0ibpvSQo8NJPrR-oGwMSzpfyERS2DWAX%7EzyUFGhLyaftjF133g9BSJ464COHArjv7Xh%7EpHK9fAHjBwOrWOfIJ8ZS2e6epvh6UBlo1rU7cx005uL9NNHNscVqesW9kXLMAX1GbBUKvhB0%7EOWORDJj7cY3VRvsunZaZfxPosPeszn12CaQg__&Key-Pair-Id=K6UGZS9ZTDSZM 624098da69c82c905c71774fc6750758 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Histories, philosophy, biographies, directories, bibliographies, almanacs, catalogues, annuals, religious, educational, and travel literature Subject The topic of the resource These largely non-political works reflect a broad pallette of non-fiction reflections on the history of Italians in the U.S., travel literature, biographies (like that of the Peanut King, Obici), or the religious, like Sister, later Mother, and final Saint Cabrini. Description An account of the resource In these non-fiction works, Italians reflected upon themselves and their American experiences. Representing the non-sovversivi type of immigrant, who were more interested in becoming American and “making it” in America than in stoking class warfare and remaking society, They began to place themselves in the context of contemporary American society and the history in America. The release in 1921 of Alfredo Bosi’s Cinquant’anni di vita italiana in America, the first history of Italians in the United States, represented a watershed - the first 50 years of Italians in America - and allegedly arose from a conversation between journalist Bosi and King Vittorio Emanuele of Italy in 1901, in which the king expressed curiosity about the Italian colony in America. Luigi Roversi’s biography of Palma di Cesnola proudly places that Italian within the august homes of white Anglo-Saxon Protestant America, into which di Cesnola had married, and where he ruled as the first director of the Metropolitan Museum of Art. More than the first half of Flamma’s “biography” of the greatest mayor New York City had ever seen, Fiorello LaGuardia, has little to do with La Guardia, unfortunately, but the work did reflect his obvious pride that after electing mayors in 29 other cities, Italians “finally” elected (in 1933) a mayor of Italian heritage to the country’s most important city. The directories discussed here, from New York to San Francisco, provide a particularly rich source of information about the different businesses and professions Italians had in virtually every state of the union, from as early as the 1880s (in San Francisco) to the first few decades of the 20th Century (primarily in New York). Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Il libro dei santi. New York: Variety Bazaar & Italian Book, 1942. Description An account of the resource The front cover provides some bibliographic information in Italian, translated here as: “Printed exclusively for the newspaper L’Italia 1500 Stockton Street, San Francisco, Cal.” This information is not on the title page. This is the rare publication hybrid, in that this work was published in New York, but was printed for a San Francisco newspaper. Viola’s work reflects the Catholic faith that most of America’s Italians followed faithfully, the significant anti-clerical minority notwithstanding. It names and describes the saint, or saints in some cases, for every day of the year, as well as a list of patron saints for each profession. A native of Pescara, the birthplace of poet Gabriele D’Annunzio, Viola (active, 1930s–1940s) was director of the Permanent Italian Book Exhibition in New York (a bookstore founded in 1928 to establish connections between Italian publishers and the American book-buying public), which contained 50,000 volumes in Italian. Viola studied music at the New England Conservatory of Music, and worked at international book stores like the Permanent Italian Book Exhibition in Boston and New York. He directed the Italian section of The Atlantic Monthly, and wrote for the newspaper Il Corriere Siciliano, and the magazines Giovinezza [Youth] and La Settimana [The Week]. Creator An entity primarily responsible for making the resource Salvatore Viola Publisher An entity responsible for making the resource available Variety Bazaar & Italian Book Date A point or period of time associated with an event in the lifecycle of the resource 1942 Format The file format, physical medium, or dimensions of the resource 19.5 x 13.5cm; 127 p. Language A language of the resource Italian 1941-1950 history New York religious San Francisco https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/27d057a1fbe1b4a90df24496c002e0b0.jpg?Expires=1779926400&Signature=RwPMsV8i3PUc126NIW8WI5gXsRsU0YLVJ3iprNX-DtBTBJ1kIkl4CNnFCwIf2hb1p485naPKRsBYCFonrt73BDesBtmmQzckCceoJfTU7ZnXTUaRfBAkmECJRZQMd0y7xC8D8Eo%7EMB0acMXsJXVyn9VTRPuIjttOjLU3k3aRL6Tl%7EwGJBJb%7EdaxYVws6UJUZg9lQWmTQWyVYmEGo2mSa2Yz5YScMIeY2c-6Wv7olCXPQPxcY6V3siMndWaEgtAoxwhU1PrBwgaUrXfWD2xi6XTN4IHNmBt6MW4W%7E45Mukjw-MwbFEKjwWTgpxUmOotcoYyrs9PceVN2ImqzNjArM-A__&Key-Pair-Id=K6UGZS9ZTDSZM 96d6dd549e13c72940c4ff03e6198359 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/f7fb7c603015fda62bea5f3441291229.jpg?Expires=1779926400&Signature=aNzeLpWwzEksUjESmdEUmyrds-kWUDB93ew7rdG0Tv976Cw7616CWzQc0UXTAG5%7E9Fr%7Eonx695oYQrVLlZRgOIZ4dNIlkYf9vhPMQo3R3J1e0y3Ss%7ELmuqC7MCYPPKSUWVn9z6l4kZRXPNfRdgcaRr2z13aaT5lbjEv46%7E-hlAAis1tGaSWb523qbPZCTBcSHuw19vXhDRX07Qh7%7EP3pdcLmU8cAW39e7mnHfkhRGaxiFhuyZh4t2tTRaN4JKWTrDPGsjm9QxRxmlLD1gYK-N1mbbR5Nf22Ex2Fqrp9yqQ51b1B7SD1yqItAt7kmP324Khg-jqOOXWbZQRdFuq4DTA__&Key-Pair-Id=K6UGZS9ZTDSZM 38a8d2e475854592e825035276d6c88a https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/c197ad0d68d4a4ecb1c4e23ecdfe5dd8.jpg?Expires=1779926400&Signature=D63Va3ICZtvXk%7E3TkuDGdQzeNHpW6WgfQCZqQrqOszSj9d11NWPFOI79ULtFQBXnu3fLjXLolZ165Pyw1wzZGH5hYapfq0PB8Xqb-VlAsyIzBclHxYSfB9TUn4mZ5N52Dy%7E2CvGR8HCApbI5Bp9huw43LoJiT31ljWXWkXrmBQo6Qdr476z9KttrD-ACD33K948PsiCijFGXPg%7EL7zz%7EvS4R8pcPkmVx7JGv6JDg8Nl7wT-kTCx6FyfiMG0qq81ZwJrxoLj2gbLNG-VRf-3qudcwSY-pXF9kDPtVEFUtEa72eeqUwxYfCW3O19lCiPYTuXK86bjGSSvsUf6WtauEMg__&Key-Pair-Id=K6UGZS9ZTDSZM 7ef65e7aac8e3065ea33a5658c8f4555 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper Description An account of the resource During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in Parole Colletive, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the sovversivi. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) Il Carroccio, or Arturo Giovannitti’s literary but also politically leftist Vita, Vincenzo Vacirca’s Il Solco, Ernesto Vallentini’s socialist Zarathustra, or Enrico Arrigoni’s anarchist-individualist Eresia, all of which are reflected in the collection. The generically (and gently) leftist and anti-clerical La Follia di New York was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of La Follia into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained La Follia. Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country. Subject The topic of the resource While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource S. Giovannino [Saint Little John]. New York: [n.p.], 1946. Description An account of the resource Born in Palermo, Pietro Varvaro (active 1910-1950s) lived in New York in relative obscurity for the latter part of his life, visited often by Italian friends from what remained of the Sicilian nobility, such as the Prince of Niscemi. He was also friends with Italian singers, musicians and conductors, such as the Metropolitan Opera’s Giulio Gatti-Casazza. Varvaro was far better known in Italy, according to Francesco Durante (personal communication), where he was more often published, q.v. Anima Rerum here, and revered as a “poeta modernissimo” (a very modern poet). This three-page poem is dedicated to Piero Tozzi, the Italian artist who discovered Michelangelo’s lost marble work, “San Giovannino.” I treasure this copy as it, like my copy of Anima Rerum, was a gift to me from the author’s daughter, Aurora Varvaro Gareiss, a renowned environmentalist in the Douglaston area of Queens, in New York City. I knew her in my professional capacity as an environmental lawyer - she was known as "Our Lady of the Wetlands" to many of us. Aurora, who provided much of the biographical information, above, remained a friend for several decades until her death in 2000. Creator An entity primarily responsible for making the resource Pietro G. Varvaro Publisher An entity responsible for making the resource available [n.p.] Date A point or period of time associated with an event in the lifecycle of the resource 1946 Format The file format, physical medium, or dimensions of the resource 23.5 x 15.5cm Language A language of the resource Italian 1941-1950 New York poetry https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/38e5fb981e26269e296a9f5f46a90b46.jpg?Expires=1779926400&Signature=cjM0sKtrYjwtM2EvDzeAWaUeZgoVP33d-GhlwEbHtVdnB-JQhEkoq80efBE5ZhMISVamCAgSX6kT1dmhQjZ7HoR3cZ3S2RcXeaaxMkzAT5wj2Z9WJE7cjYPjkTVoGiNvnO8T0pijKFMH-gbCPQtJc6XT1I48Q8sEPH82eIeJKqM6CnP6PD-G8ZNm-qFcZowYBzGl77ZGYoX9D4lcq%7EPYmG1Barprgmc73JgBBm0n%7E9Yi8kf%7EBHaiAYpf1uJKcPrLSGNvg7yLe3o9jKP8QJ61nBNlx4-3O7mEH67xuSx%7EXdduydqvcMKUOZgj3N3Bp4bYYQ1psceWDHSEEDkUE7qanA__&Key-Pair-Id=K6UGZS9ZTDSZM cd98d110c53322e3e53b95c4d4fac6c2 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/d371a5020e4bc8ddf817999826927a88.jpg?Expires=1779926400&Signature=jdGRXalf69ET01YkjQKnisl7Pt7atAO4opZ%7EKpBkp257KW4%7EuaGAwhqQQmpU0JEm8kb8mcWjE1nnNCAw-7c1njKAMUaYFyF9jWi18ZMNcOXUc3cTMZaSkLvypGS4GM33c-GEZXyyMWl4MK15zD6W6%7Eh5xl7FIHcdpRfugPycwlb3f206uhJlr5bgYmdyUtjiRDlZNPUoTo5Ap2x2CLHw4oMl1rvVjef8CTl%7EbabL9USMR6by3v-7fOtMfWCI96mZLBmEB-XNqSttYxNN8hvsbLQ-OYGe-KEF5WMu0oyh3p3%7EbnnInjRKcf3UYYYjhP93fzKmWIc-HVRkRC48m6VQPA__&Key-Pair-Id=K6UGZS9ZTDSZM b70ea080f8a787dcb2fe3c1e6967efa4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Political subversives III: Fascists and anti-fascists Description An account of the resource The Anti-Fascist movement embraced diverse leftists, including Carlo Tresca, as noted above. Opposition to Mussolini from the left was reflected by activities of the Anti-Fascist Alliance of North America, which formed common ground for anarchists, socialists/syndicalists and communists to temporarily set aside their differences and unite against fascist oppression. Gone, at least temporarily, were the debates about proper philosophy of the left: the goal was to unite in order to defeat fascism. As for fascism itself, its roots were in the nationalist fervor stoked by Italy’s late 19th and early 20th century imperialist ventures in Africa, which are reflected in several items in the collection. Fascism itself, with its <a href="http://en.wikipedia.org/wiki/Political_radicalism">radical</a> nationalist agenda, came to prominence in the first quarter of 20th-century Europe, originating in Italy during <a href="http://en.wikipedia.org/wiki/World_War_I">World War I</a>. Benito Mussolini founded the Fascist Party, a right-wing organization which launched a campaign of terrorism and intimidation against its leftist opponents, and forced the king in 1922 to name him the Prime Minister as a result of the fascists’ show of force in the March on Rome. In America, active fascist supporters started two magazines that vied for primacy with Mussolini as instruments of the Fascist Party in America. Agostino de Biasi’s Il Carroccio, (The Chariot) was published from 1915 until 1935 - most years of the magazine are in the collection - with a circulation of about 10,000–12,000, long-lived initially but ultimately with a circulation of only about one-third of Domenico Trombetta’s far more militant Il Grido della Stirpe (The Cry of the Race), which became the largest circulation pro-fascist periodical at about 30,000 at its height in the mid-late 1920s, dropping to about 5,000 in the late 1930s as Italian Americans soured on Mussolini. Mussolini also promoted teaching the Italian language to Italian American schoolchildren, reflected in several items in the collection. Both fascist and therefore anti-fascist activities were not confined to New York, Chicago and other big cities. By the early 1920s, Fascist Party cells in the United States were present in Buffalo, Albany, Rochester and Syracuse. Subject The topic of the resource This section of the collection reflects tensions between fascists and anti-fascists. But the anti-fascist movement in the U.S. among Italians and others had far less to fear from Mussolini than did such dissidents in Italy itself. Savage portrayals and caricatures of Mussolini and of fascism are fully reflected in the collection. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mussolini: storia d'un cadavere [Mussolini: history of a cadaver]. New York: La Strada Publishing Co., 1942. Description An account of the resource Vacirca’s anti-fascist biography of Mussolini covers the period from his growing up in poverty to his rise to “Il Duce” in 1925 and emperor in 1936. The bright pictorial cover (artist unknown) is illustrated with a graphic drawing of a red-eyed skull; the blood trailing from the skull’s base spells “Mussolini” for the cover title. There is a good discussion of the significance of the image of the "cadavere" of Mussolini in this work and more generally of Mussolini's body - even, as here, before his actual death - in historian Sergio Luzzatto's work, translated as The Body of Il Duce (New York: Owl, 2005). See discussion of the publisher, La Strada Publishing Co., in the description of La Strada magazine, q.v., started by Vacirca. Creator An entity primarily responsible for making the resource Vincenzo Vacirca Publisher An entity responsible for making the resource available La Strada Publishing Co. Date A point or period of time associated with an event in the lifecycle of the resource 1942 Format The file format, physical medium, or dimensions of the resource 19.5 x 13cm; 301 p. Language A language of the resource Italian 1941-1950 anti-fascist biography Durante Mussolini Vincenzo Vacirca https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/44b535c9029c694f8d1eda2468fcd69d.jpg?Expires=1779926400&Signature=Xmun%7EdhKVzWi2nnz7OojkRdxUgaerv9BdpF3%7Eq0d91H-53vm5M7XEdLtCD3Ec1tY7xe9Gq9J8SXNa9YM4JzOX6iOJM-aXUDpx-3th5NZpT0nOXlNnRfIU3CsjzjjOJWKrHmS%7EM4zwacXkbEZ7toINYGKWvid8gd6XH-PxIwtZUjsoMfypyuhNSnH1ISkO92BZSzX287yF6qaiTGJpnsQgcnTFjhkKcuRj8PnOK5yougBAAJDhbXEGxDkl-8aBn00UOznaBFG1g08p1XMWWGHF82BH7VJTYu32xuBpTqZfClg0c65F1-m5cd0mFnHBKhI-V1odbjtSkz-91JrY9wsxA__&Key-Pair-Id=K6UGZS9ZTDSZM 3830b572a52bcafe5fe9ba31cc47fd68 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/8dad2054a35129f7828795231f127bb1.jpg?Expires=1779926400&Signature=OxiMT42y4H0yabDb44brVimkKFqQENjSOUvaXG07FJ6R2TFnAv96b82R-XW0MaAIrkcQTtfS%7EWi3Q0I8jDAvksQrxx6Ar%7EI5Lk7pv781m3SDaJhVPY%7ELo1g95QPs6BoIgwcBUwqdzhD21OpQCmJNwZt8-MhR7mbQrWdTOWocqO4LKzWFGHqdt3JYBrnzkgZ2IpjtdwXnVAWRYtguNkpYSPZ9HpgAtzv8etCrQXxpJ9zISNWWMIulqZ4UStwbZ69StbuTYRkwX4TWZWbvkn5M7T-oAMdYI7i325sYmsbT7d5Bl3Dnw2PSHU0HpyO5B9bbXNsOeTd-NvIrWz4q4rP9Nw__&Key-Pair-Id=K6UGZS9ZTDSZM 73fcf39b4024a94e5122123272d6082b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper Description An account of the resource During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in Parole Colletive, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the sovversivi. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) Il Carroccio, or Arturo Giovannitti’s literary but also politically leftist Vita, Vincenzo Vacirca’s Il Solco, Ernesto Vallentini’s socialist Zarathustra, or Enrico Arrigoni’s anarchist-individualist Eresia, all of which are reflected in the collection. The generically (and gently) leftist and anti-clerical La Follia di New York was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of La Follia into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained La Follia. Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country. Subject The topic of the resource While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Petali sull'Onda: poesie [Petals on the Wave: poetry]. Bronx: Euclid Publishing Company, 1948. Description An account of the resource See the description of Peccato e luce of Tusiani for his biography. Creator An entity primarily responsible for making the resource Giuseppe Tusiani Publisher An entity responsible for making the resource available Euclid Publishing Company Date A point or period of time associated with an event in the lifecycle of the resource 1948 Format The file format, physical medium, or dimensions of the resource 21 x 13.5cm; 31 p. Language A language of the resource Italian 1941-1950 Bronx New York poetry https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/153b2712a8dc00660eb73b5292548d1e.jpg?Expires=1779926400&Signature=mUTAIhfFbU-6fzXt9S3oZ4e4Fdjxdw0p6xdv0PhEY2Hvsy833w7b6dmHQn4AdubOByVNnm7C3cH%7EC9QkmWQi78Kaop%7EXDHGqQ4eGlb6seVq43%7EBEGLzjrGDjc-wqe1YkfJI-U9XSyseAPspM%7EfZaMtZ-uCYvyMxiz1a7GY2I7ITRnGiYeuO8Wpa9UH4ermcDCq0v5PQWv2ij87TVagfKRoDbZufN4SiknwwzFFUEyHi0kqkc5jo4VJ6XB-QFylQQ5rVaRTaT6epwP06Ajvl4uF%7ET7iuqzyx5U45xFT591mzKraC%7EbePI7JDfpr5Lah8Pz5AwusH0s4e4rGC8EwtYsw__&Key-Pair-Id=K6UGZS9ZTDSZM e49e6868fffe931756235e02eb82a71b https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/b12d63c0483ea998aa2e2b62d6aec6d2.jpg?Expires=1779926400&Signature=A9pNDLz4ZRRlzmOuhKZ50E6YZyAw9lustFJxa37o7-pTpn9ky29CGOcDZldc6j630wbkybwvNZacJniAW5ZnR5E%7EDr6MJ0Cl5Jm-NFgCP6oOJTq5XZGaccLyqP4XMfRILsxBcoC21RckQ86eRrOMDBK3-8819p-foSL02bSTg6AEt1oAE882KIVq39PjQpept8%7Ea08ra6zvOSuDf3fDd9dxARlDvl8ibbSDgBDeRL3XIlq8ZsRHRQDajk7Ds0Jf2orc%7E8cv2RiQvmOXg4WHpGNkBFFqx%7EtXLz38ClJbSRuGBpxFUN8JX9KE2luK79mMjnS5cibZ8wyvEvn22jJTNYA__&Key-Pair-Id=K6UGZS9ZTDSZM f46f91933d7be2bc27b7eff8e8f7153f https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/913a6c81878ee15ae71b457199f906dc.jpg?Expires=1779926400&Signature=c4JshKvBcCfdYDN3weyivPXUAFGoHenVgzDax2rEgnjNND79YnPs2qtysnEXFpVCh8gNcaT8o-yxdyOdAzWrkYcaRuu%7ErG%7ECncVVIOdakj76kHnLbCgqr4nDBkJcCTGG2w%7EeVMBYvP9sGHm%7EbPoP4O8D6IPWUSPlUki2bheKkC58MuFzObYWJjh3ltLdq-TKKlob88JpRUYT78q0PquCN3T24lX5E8TVTLOscvJnuLa-cMc7o%7EDGc%7EIcszQf5BgFqvJcZ6uMrixReiFfrR5-EEfHXc%7E7YvyUdr1da9DATOMw1ltzlfmjOoXkNhQzZa3-YywHF2rePGpRiLZwqiz1Bw__&Key-Pair-Id=K6UGZS9ZTDSZM 3dbe30c0a73dde81cac02eb10ce9a007 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper Description An account of the resource During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in Parole Colletive, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the sovversivi. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) Il Carroccio, or Arturo Giovannitti’s literary but also politically leftist Vita, Vincenzo Vacirca’s Il Solco, Ernesto Vallentini’s socialist Zarathustra, or Enrico Arrigoni’s anarchist-individualist Eresia, all of which are reflected in the collection. The generically (and gently) leftist and anti-clerical La Follia di New York was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of La Follia into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained La Follia. Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country. Subject The topic of the resource While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Peccato e luce [Sin and Light]. New York: The Venetian Press, 1949. Description An account of the resource Giuseppe (later, Joseph) Tusiani (b. San Marco in Lamis (Puglia) 1924 - d. New York 2020) was a poet who composed in four languages - Italian, Gargano dialect, Latin and English - an academic teacher of Italian literature, and a translator. Extraordinarily prolific as a poet, he was until his death in 2020 the last living link in the 21st century to Arturo Giovannitti, q.v., about whom Tusiani writes movingly in his three-volume autobiography. They both lived in the Bronx in the 1950s. He was a modest man who sometimes seemed embarrassed by the attention and praise showered on him especially in later years. Tusiani taught Italian literature at the City University of New York, and edited several volumes of Italian literature in English, in addition to his poetry. He was the first American to win the coveted Greenwood Prize awarded in England for poetry in English. One night in about 2010, I had the pleasure of hearing Tusiani recite from a number of dialect poems he had translated into both standard Italian and into English, and understood for the first time the richness, robustness, earthiness, and onomonopoetic nature of dialect poetry, which seemed that magical evening to put standard Italian, however beautiful, to shame. Cesare Foligno, who wrote the preface of this work, was Serena Professor of Italian at the University of Oxford and Professor of English at the University of Naples, who had an enormous influence on the teaching of Italian in England. Creator An entity primarily responsible for making the resource Giuseppe Tusiani Publisher An entity responsible for making the resource available The Venetian Press Date A point or period of time associated with an event in the lifecycle of the resource 1949 Format The file format, physical medium, or dimensions of the resource 20.5 x 13cm; 39 p. Language A language of the resource Italian 1941-1950 New York poetry https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/66f24b7604c5683235ff45dbbb74f488.jpg?Expires=1779926400&Signature=VOv1WtAH%7E0axzjTDwBL4%7Ezfuo8ynRXghGiNWCdhF1Um2p9tCXO-cXPsVYMJJQVIduEP8FVOZsrGCEuVq%7EqeYIuhjnj3ouKNyFNf%7EWZbo9%7E9PE-N2SB4E0ThOVta%7EWfK6fL9oWo1Y8HjO6B%7Epa3zxFAalLND6h9SmAGOp%7EsGwDvwur%7Egwov9wiNP6wXw9c-Qco4bgB%7Ek1Fm3cAnIfTAcuFUviREZSmgbKuaxgvSFjky%7ErZUyTd5iljy0DbFDC0dT2ZfDiThJ6ykeN4RM2l9Z8sqWZgDhVE3yQGstmELV6e26h3HJSt6iaArdPNHi6bBINoColq%7EDtOzgZsNFNLseA7g__&Key-Pair-Id=K6UGZS9ZTDSZM 8584b6104650965109567f46f174cf8e https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/e57f544c505dd4b254857610b9bbc00f.jpg?Expires=1779926400&Signature=cwC23SPVydwC16D-NhXL7qkPeeMIAppB%7EzCq%7EnkBIWtSQSczLEPgeOrdC-llRCo0OsATEaZIYwfihYxBjmxdj8rOfk3EAruu563i0vdqMzUxcbrjMeLOFXTinv2RWDL6OdM-1hLd%7Er31ZRmv-Hjy6LILJmzJp4--bdmrfNe0vA-qwI%7E7cOjrwdoIGt4PymbgLpblvI6-LCM9Kt1DzSUPUuyy6aSNgivbTd0Uw3O3GTr0a8suT98sfwswq3YTQvG4pSfh%7E-6XHH3MIMY8ucxvwn7Z-JSQLOkVkkgjZFkNZfyzJHcru4VjRGsK10AgGq6rEPbiOu7yhMcLg-tc5Ie1hg__&Key-Pair-Id=K6UGZS9ZTDSZM 1dd8e910e2352c08bdb50846a00cb2c7 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/013122ce94fbb528566dc3984bb31ff7.jpg?Expires=1779926400&Signature=RvoX4Gz-s9jLlFDUQyU0lDHI2l6RrbQCBQRhWilMl3Ptv1kPv02b0qNoxaZoG%7E7yAkujRQWTEQuTAaeCWCDdBMucYvEx7xpUZEacf6Xa88G8t3RD6BUaPkHhf5J5UKhkhNrUNu97%7EKCpMpJG4AscV-yrlMu2APh67TG5ztwsd1HyTEpBa2oAk9bDftoGFVSXBWNtm0FK1hodBY5pipwyIfj%7E%7EV%7EGZpbBJ4dFgLk-lxvaZkt3nEOCVrz9gcl2d23ePB2oqDrGsFIjU7kuFd%7EpiJ04RfQfriTEYQfZDSSJsbQyLo-xGuyvoLewbpGhrvR2Ln0%7EYKJwZF0rLdGBukBZhQ__&Key-Pair-Id=K6UGZS9ZTDSZM 7da1497faf971fca479ddc0ed345bfdf https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/a4507c95bbf991d64711661d4f9c2271.jpg?Expires=1779926400&Signature=qUGp5uoQyeUOFKn69Dii9oe6wCI2FsNT6ifhQT4aCFfSPrBocNZfK8W8BY5yDbbPHHOoQUTzTgDSgVtPiebTjPkGOkrcS7Nd5hoTnYwGvK2zVF3URhnZcN9f7EhHQEN2EXEUZ2W6iSqP1DBZdm9LGXTmSzPn9ZkWROay%7E4CvmAXVy2449I7EK3GW7WPczhR47QLUQWYmifyRXf5c8s-9c%7EQWITKTBYDIk4-FyBZvUsKLMMbUUoJ8Vl4XmH5bnP3sqTai4vhkysKq6k1F60g2JM3XaNqgs42w4d33vmEAmC%7ErIrF7PUDyKr0QXu6SFyRGesPcsK9Tg-ijvQqlBYUt3A__&Key-Pair-Id=K6UGZS9ZTDSZM 4a0c460b4577408203b1ed40a2c9d7ea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Political subversives III: Fascists and anti-fascists Description An account of the resource The Anti-Fascist movement embraced diverse leftists, including Carlo Tresca, as noted above. Opposition to Mussolini from the left was reflected by activities of the Anti-Fascist Alliance of North America, which formed common ground for anarchists, socialists/syndicalists and communists to temporarily set aside their differences and unite against fascist oppression. Gone, at least temporarily, were the debates about proper philosophy of the left: the goal was to unite in order to defeat fascism. As for fascism itself, its roots were in the nationalist fervor stoked by Italy’s late 19th and early 20th century imperialist ventures in Africa, which are reflected in several items in the collection. Fascism itself, with its <a href="http://en.wikipedia.org/wiki/Political_radicalism">radical</a> nationalist agenda, came to prominence in the first quarter of 20th-century Europe, originating in Italy during <a href="http://en.wikipedia.org/wiki/World_War_I">World War I</a>. Benito Mussolini founded the Fascist Party, a right-wing organization which launched a campaign of terrorism and intimidation against its leftist opponents, and forced the king in 1922 to name him the Prime Minister as a result of the fascists’ show of force in the March on Rome. In America, active fascist supporters started two magazines that vied for primacy with Mussolini as instruments of the Fascist Party in America. Agostino de Biasi’s Il Carroccio, (The Chariot) was published from 1915 until 1935 - most years of the magazine are in the collection - with a circulation of about 10,000–12,000, long-lived initially but ultimately with a circulation of only about one-third of Domenico Trombetta’s far more militant Il Grido della Stirpe (The Cry of the Race), which became the largest circulation pro-fascist periodical at about 30,000 at its height in the mid-late 1920s, dropping to about 5,000 in the late 1930s as Italian Americans soured on Mussolini. Mussolini also promoted teaching the Italian language to Italian American schoolchildren, reflected in several items in the collection. Both fascist and therefore anti-fascist activities were not confined to New York, Chicago and other big cities. By the early 1920s, Fascist Party cells in the United States were present in Buffalo, Albany, Rochester and Syracuse. Subject The topic of the resource This section of the collection reflects tensions between fascists and anti-fascists. But the anti-fascist movement in the U.S. among Italians and others had far less to fear from Mussolini than did such dissidents in Italy itself. Savage portrayals and caricatures of Mussolini and of fascism are fully reflected in the collection. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pervertimento: L'Antifascismo di Carlo Fama [Depravity: the anti-fascism of Carlo Fama]. New York: Libreria del Grido della Stirpe, [n.d.] Description An account of the resource Trombetta (b. Aquila, 1885 - d. New York, ca. 1950s) was a freelance journalist who immigrated to the U.S. in 1903, became an American citizenship, and then lost it. He began his journalistic career at the L’Italia Nostra (Our Italy), a weekly interventionist paper founded by erstwhile socialist Edmondo Rossoni. Changing political stripes toward fascism at the same time as Rossoni but without the latter’s ambivalent feelings, in 1923 Trombetta founded the violently polemical fascist bi-weekly Il Grido della Stirpe, whose circulation soon more than doubled that of de Biasi’s politically similar, better known and long-lived, but less strident Il Carroccio. Il Grido was sued repeatedly for libel, from which Trombetta, who eventually became a leading voice of Italian American fascism, usually escaped unscathed. However, in 1942, the process of "snaturalizzazione" or denaturalization was commenced, leading to Trombetta's arrest, loss of American citizenship, and his detention at Ellis Island, as reported in the October 1, 1942 issue of the Mazzini Society's newspaper, q.v. While “pervertimento” can mean more broadly “corruption” or “depravity,” Trombetta also, rather speculatively, calls Fama (at p. 127) “pervertito,” a pervert and a degenerate. Fama, a respected medical doctor, Presbyterian minister and Republican Party supporter, was a particularly effective and unusual anti-fascist: as one of the few whose anti-fascism did not arise from a radical politics or labor militancy, he had a respectability that gave special credibility to his severe critique of and charges about fascist activities. Creator An entity primarily responsible for making the resource Domenico Trombetta Publisher An entity responsible for making the resource available Libreria del Grido della Stirpe Date A point or period of time associated with an event in the lifecycle of the resource [n.d.] Format The file format, physical medium, or dimensions of the resource 22.5 x 15.5cm; 132 p. Language A language of the resource Italian 1941-1950 fascist newspaper press polemical https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/6ececdfa5676013f79114b512b8de464.jpg?Expires=1779926400&Signature=f86LQFFnb8RqkVUuEwM5YrUcaT9PcC1TTBFhhHSj06nOVxh2OQ%7EojjCjMagCEGDm1MwyBy93Tj1svovKqAcW5jgq9dEOly00RPfKKV8WhQzibKMp6MTeW9yoVazr5ge7wfwWN8rOdvrBLSbEkMG2bJ94uzpgrZJytNmNz7Rz76BfifXY5j%7ELD0kFjWsxgT8hsR5Que1d8bfhZaa2cE1YAqg4zqK3eXnKzqzMGuEenU8E2tU6D82co2cMBU0IeL095ZmandCkjazuvRsljxT2Zn8Fnxoqff0GB3a%7EzfpwDUTL9M4s8Dh-jjlHJFBVR5Ee97X13ee9dfWCINqSMpnpsg__&Key-Pair-Id=K6UGZS9ZTDSZM 3deda04d698be40b56a791fed8589a3e https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/fb680a5ad489e27a593fe4a45eb96110.jpg?Expires=1779926400&Signature=BU2S-h-yAPqyr-HLS6xgvZRr6RWPcffn%7ENftCboJSvglYo0ahsW424sZsJXO-rOsP0LtSDueyyvNX5yJeirbJ4hYy1N39R4aNpcLHI8BCMbVGWeGNf6FFVXuuBWY8cYMn1VSpzOk7M-zBZkDtQN5r38Gz%7EOz0MfXmxtG7tznFx6Wf7absajkBGLPBAL9no3oov4V7UeDqSDBc778mrNgpicIEok1imw1tzK0RkRU3NZTN%7Ec-e6wqewojwZBqUrp-7cbIn4nTb0Ks0-FQDRQJBIqNlgLpIpdo7H7wgGCsTxJesCnZ1QNXjc-0Whrl0plbu6zHsbeC4Cjcr0xfB1uXZA__&Key-Pair-Id=K6UGZS9ZTDSZM a8a9bd3b857a0f9cbea26e16533b5273 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Political subversives IV: Arturo Giovannitti, Carlo Tresca, and their circles Description An account of the resource Arturo Giovannitti immigrated to Montreal at the age of 17, where he became a Protestant pastor. He then moved to Pennsylvania, preaching mostly to miners. He later left the church to join the labor movement after becoming interested in socialist ideas. Participating in the great Bread and Roses strike in Lawrence, Massachusetts in 1912, Giovannitti was accused falsely of the homicide of striker Anna Lo Pizzo, and arrested, along with Joseph Ettor and Joseph Caruso. Speaking in his defense while on trial in Salem, he delivered a legendary apologia in English that was subsequently published in both English and Italian under the title “The Walker,” further establishing his charismatic leadership. After 1920, Giovannitti was among the organizers of the committee for the defense of Sacco and Vanzetti, a major leader of the anti-fascist movement, thus of the Anti-Fascist Alliance of North America (AFANA), and a member of the committee formed to push for the investigation of the assassination of his friend Carlo Tresca. A complex intellectual figure, equally comfortable in both English and Italian, Giovannitti is the rare Italian American writer who, despite the extraordinary reception accorded him within American literary culture, never abandoned the Italian community. His English-language poems were often translated into Italian as well as into Sicilian. Only his Italian-language publications are included here, including especially Quando canta il gallo and several issues of a gorgeous literary-political magazine, Vita, published beginning in 1915, a few issues of which became part of the collection only recently (2021). Carlo Tresca was the radical left’s most complex, fascinating character, a powerful thinker, charismatic orator and rabble rouser, ladies’ man and a warm friend who never forgot the human dimension of people whatever their politics. By the time fascism began to take serious root in Italy, Italian American radicals for the most part put aside their factionalism to join in the fight against totalitarianism. Along with Giovannitti, Tresca was one of the founding members of AFANA. However, Tresca’s popularity earned him a lifetime of enmity from Luigi Galleani and his followers. Tresca’s political views evolved over time from a belief in the need for a revolution to destroy the private ownership of property basic to capitalism, to grass-roots union organizing in 1905, when he became its leading Italian proponent and practitioner, to being an anarchist who nevertheless believes in organized unions or syndicates (anarcho-syndicalism) by 1913. His longest-lived newspaper was Il Martello [The Hammer], constantly in financial and political difficulties – for many years of its publication, he had to submit advance translations into English for the Post Office and Justice Department of each issue – and a significant book-publishing venture of the same name – Casa editrice “Il Martello.” In addition to several years of issues of Il Martello, and a couple of works authored by Tresca himself, the collection includes numerous publications of works by others under the Casa editrice "Il Martello" imprint. Subject The topic of the resource Giovannitti and Tresca stand out as vibrant, charismatic individuals, not unlike Galleani and Borghi but with a broader political and non-political following and personal drama to match. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chi uccise Carlo Tresca? [Who Killed Carlo Tresca?] New York: Tresca Memorial Committee, [1947]. Description An account of the resource The cover of this pamphlet (as well as the English language version, in English) notes “Con prefazioni di Arturo Giovannitti e John Dos Passos.” In the earlier (1945) English language version, also in the collection, the goal is stated: to incite readers to “stir the authorities out of their lethargy in the Tresca situation,” urging them to contact Manhattan District Attorney Frank S. Hogan and the newly appointed police commissioner to undertake a new and independent investigation. This Italian version, issued two years after the English version, also in the Collection, lacks this exhortation at the end, probably because it was no longer timely. As Giovannitti asks in his preface, “Who had any reason to have Carlo murdered? . . . For this man was everybody’s friend, tutor, and counselor; he really loved everybody from the derelict and the destitute up to the teacher, the healer, even the man of affairs. . . . He was a friend of the policeman who arrested him scores of times, of the District Attorney who denounced him as an enemy of society but ate and drank at his table, the jailer who locked him up for interminable days. . . .” Tresca’s attacks on Mussolini were almost surely responsible for his assassination. One evening in 1943 — the same year in which Mussolini was deposed — upon leaving the office of his newspaper, Il Martello, in Union Square, Tresca was gunned down. The circumstances remain mysterious to this day. Some say it was on direct orders from Mussolini because of Tresca’s unrelenting polemics against him. Others, such as union leader (and leading anti-communist) Luigi Antonini, blamed the Communists, and in particular, a former Tresca colleague with whom Tresca had become disenchanted, Vittorio Vidali (known in America as Enea Sormente). The more likely culprit was the then young hitman, Carmine Galante, possibly on orders from Generoso Pope, the pro-Mussolini publisher of Il Progresso Italo-Americano, the largest circulation and longest-lived Italian-language daily. The Tresca Memorial Committee included A. Philip Randolph, Edmund Wilson and John Dewey, as well as its chair, Norman Thomas, the perennial Socialist Party candidate for president. This pamphlet, far more common in its English version (issued in 1945) than in this Italian one (1947), was circulated with the exhortation that “those who believe with us that political murder in the United States must not go unpunished . . . help circulate this pamphlet widely . . . we have no thought of placing the guilt in the Tresca assassination at the door of any specific organization or individual.” While it's not clear who assassinated Tresca, it is certainly clear that Tresca’s assassination obsessed many who loved him. Creator An entity primarily responsible for making the resource Tresca Memorial Committee Publisher An entity responsible for making the resource available Tresca Memorial Committee Date A point or period of time associated with an event in the lifecycle of the resource [1947] Format The file format, physical medium, or dimensions of the resource 22 x 15.25cm; 31 p. Language A language of the resource Italian 1941-1950 Arturo Giovannitti assassination Carlo Tresca Il Martello John Dos Passos New York https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/474b58e1c0bb8dddfda7545f59b20623.jpg?Expires=1779926400&Signature=lLbqzPfgsnMg%7EF9W0BN5i6Q%7Elk06SvoiK7cQdtXIFyo3g7PsmB0Q7HJB5EeGe4ABdY35TbBnH1NutUB-6UBMtdlfSGWMTTH942wA5hRQrr7ippRD1KL-Jq7%7EMTVOuyUGUoq0LkpZ3rDflFZzcIYXUAC8QLDvr23A7ZmGoYZzMNjnuVX2uqTpQSSaXousNeMmXbmJyA-zVxklbdP3O0J-pO2fRiMQqJKP2KVKubhvz%7EGBJbFK-u0d360Q1z6s4smZ26dJmP1aQGXOhAtsf2zQ%7Eo8xhkL%7EAAcMhS8KI7fUdVyJmPKrusFrScm3NqnNrG0kw4kMZXSo03HRarY5aYiy6A__&Key-Pair-Id=K6UGZS9ZTDSZM 601c1a59f882cb2a2d0e6b2712084eb3 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/6f2aa132876ca68a0b2581fcf0006652.jpg?Expires=1779926400&Signature=p0JBfJQPwZIncQktmhGJFQAsfcyZLzYTWsxsIduuJ7HwvXWb7kYimZDm5hE3x3LgQK7OuVT83pkxDozBQu2ZhDFD2C4c7JlnVN%7Eio%7EG6iyxYXwX3WXMGqgmuLiiCtht3gi9Tl6t2rrlbK9y%7EdS8CZID7NIG4WiqyaEmnVjvaLpjjs452JTPdhKyLrxZKz%7E8j5WUzl7hKlybUkdqjHHn79NBBotil%7EJYtKtOA%7Ei1yW4utZb4dsWF6UziJt1rVwbERMW6EBrKHvnvx1rq43knGKuRKmgTwAr7Mh7HhzKc8Wb8RnkdYluKm4uhsCF8LMbneFG4Obg%7ElLV-4zVaxL0t4Qg__&Key-Pair-Id=K6UGZS9ZTDSZM 9a5077a0f54fe25b6a8042d0f4cbdd9a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sgraffi [Scratches]. Newark: Biblioteca de L'Adunata dei Refrattari, 1946. Description An account of the resource This collection of poetry is dedicated to those who have gone through the same struggles that Damiani had suffered. For a brief biography of Damiani, see entry for his La bottega. After the deaths of Galleani and Malatesta, the fascist regime in Italy considered Damiani, always on the move although never in the U.S., as the leader of Italian anarchism. The Collection contains more than a dozen works published by the Library of the newspaper L'Adunata dei Reffratari [The Gathering of the Refractories], q.v., directed by "Max Sartin." That was the pseudonym of Raffaele Schiavina, who had been deported from the U.S. to Italy in 1919 along with Luigi Galleani. Unlike Galleani, Schiavina managed to sneak back into the U.S. and begin the publication once again of an anarchist newspaper very much like the Cronaca Sovversiva of Galleani, using this pseudonym. Creator An entity primarily responsible for making the resource [Gigi Damiani] "Simplicio" Publisher An entity responsible for making the resource available Biblioteca de L'Adunata dei Refrattari Date A point or period of time associated with an event in the lifecycle of the resource 1946 Format The file format, physical medium, or dimensions of the resource 18.5 x 12.5cm; 103 p. Language A language of the resource Italian 1941-1950 Gigi Damiani Max Sartin (Raffaele Schiavina) newspaper press https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/baa79a131a7c8baa5f2e6b3293dac0cc.jpg?Expires=1779926400&Signature=BOM4y9LeJEIlTJqlx2kN6wDoRmuO75TF7A7ltq2KQS2NMroz8MU8z4mnKfvMEMYl3%7EtayRukLm2YZ1FVgP345rZo0x3VqtUAz431tqO7KtQ0YW9EdKGQpa9pqTeyd%7EyQjzz7LRj74qSF5cXaLWdFLOabK0TuvWJQ-t9tgcI9EyEh7YCTegCkquexQ5EX5tzzGB8wmgrULcOWIu2D8m-yHHWiYTZfatbgZSL4c4HAeXc6l2RD0e6MQTNlaOaHexNOooqAP2-8O9s1MG7La3Xgh-rDnfnC8D5honhZPMBgqlUuCy7PX-cNDN4Qv9YlpuCNukC5iQDlFijduFFfUeFQ4g__&Key-Pair-Id=K6UGZS9ZTDSZM d8c7758d692982a057af822f999d8ee7 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/33281533cb4a1c460e3c1166d1421b7b.jpg?Expires=1779926400&Signature=PBSlJQfWHr3RZ3Sx7%7E3bqRrg%7EDC356lebyTOgvPzACE0h0qIejV4Rjvhezxm2cLz-y6Dj3r0mHBcBi%7E3OZ19-aDgmHxKufZOe5J0m%7EnPYjzvWcsYVpRuJRPhRct9tMpfJaVUH8vTCNsTFq69dVZot5AD5at2NQegtjW-yO-r0Eelk3ccNpZlIqLQEHac0mKkIDMwnIOra34R3mB0PzqiyLKf9A6EnmrBk0-icHc4tcqCBkBpaOkqq4u2F6fc-Y9jdb7aUTBZ1rF8ArVtiVF4b382k2QaAFxzDbBGUk8tawM5iG7LPSk4agWcVU0zhGXTZ1UBgH5WfkqInaXLUqN1jw__&Key-Pair-Id=K6UGZS9ZTDSZM 4258262b178fa05f94ec3bda9e36c3b7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper Description An account of the resource During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in Parole Colletive, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the sovversivi. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) Il Carroccio, or Arturo Giovannitti’s literary but also politically leftist Vita, Vincenzo Vacirca’s Il Solco, Ernesto Vallentini’s socialist Zarathustra, or Enrico Arrigoni’s anarchist-individualist Eresia, all of which are reflected in the collection. The generically (and gently) leftist and anti-clerical La Follia di New York was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of La Follia into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained La Follia. Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country. Subject The topic of the resource While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La fabbrica parla [The Factory Speaks]. Milano: Milano-Sera Ed., 1950. Creator An entity primarily responsible for making the resource Ezio Taddei Publisher An entity responsible for making the resource available Milano-Sera Ed. Date A point or period of time associated with an event in the lifecycle of the resource 1950 Format The file format, physical medium, or dimensions of the resource 18 X 13.5cm; 327 p. Language A language of the resource Italian Description An account of the resource Taddei published many works in the U.S. during the fascist era, when it would have been impossible to do so in Italy. Once the war was over, as is the case at the time of publication of this work, Taddei published in his native Italy. Ezio Taddei (b. Livorno, 1895 - d. Rome, 1956) was involved in Italian politics at an early age: at thirteen he was arrested for involvement in a demonstration connected with a nurses’ strike in a Roman hospital. When released from prison, he found the doors of his home closed to him, and began life as a vagabond. He was sentenced in February 1922, along with 32 other anarchists, by the Court of Assizzes in Genoa for conspiracy to destroy several private and public buildings. Overall Taddei spent 18 years in Italian jails, first for his anti-bourgeois activities and later for his anti-fascist activities; these experiences animated and fueled much of his writing. War and imprisonment fostered his desire for social justice, reinforced by his reading, especially 19th-century Russian realist novels. The Russian radical Mikhail Bakunin, who arrived in Italy in 1864 and believed in immediate armed revolution, attracted intellectuals like Taddei. He and anarchist Errico Malatesta recur as models for the fictional alter egos under which Taddei wrote. Durante, like Marazzi, has an extended biographical introduction and appraisal of Taddei's special place in Italian American letters, as well as an amusing excerpt, "Once again, Tresca," as does Marazzi. 1941-1950 Durante Ezio Taddei fiction Milano