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                  <text>&lt;em&gt;Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals&lt;/em&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Razzismo e Anarchismo&lt;/strong&gt;&lt;/em&gt;</text>
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                  <text>&lt;em&gt;Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals&lt;/em&gt;</text>
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                <text>&lt;strong&gt;&lt;em&gt;Sgraffi&lt;/em&gt;&lt;/strong&gt; [Scratches]. &lt;strong&gt;Newark: Biblioteca de &lt;em&gt;L'Adunata dei Refrattari&lt;/em&gt;, 1946.&lt;/strong&gt;</text>
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                <text>This collection of poetry is dedicated to those who have gone through the same struggles that Damiani had suffered.&lt;br /&gt;&lt;br /&gt;For a brief biography of Damiani, see entry for his &lt;em&gt;La bottega. &lt;/em&gt;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.&lt;br /&gt;&lt;br /&gt;The Collection contains more than a dozen works published by the Library of the newspaper &lt;em&gt;L'Adunata dei Reffratari&lt;/em&gt; [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 &lt;em&gt;Cronaca Sovversiva&lt;/em&gt; of Galleani, using this pseudonym.</text>
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                <text>&lt;strong&gt;&lt;em&gt;Saggio su di una concezione filosofica dell'anarchismo &lt;/em&gt;&lt;/strong&gt;[Essay on a Philosophical Conception of Anarchism].&lt;strong&gt; Pistoia: Fondazione-Archivio, famiglia Berneri, 1991.&lt;/strong&gt;</text>
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                  <text>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 &lt;em&gt;Parole Colletive&lt;/em&gt;, 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. &lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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 &lt;em&gt;sovversivi&lt;/em&gt;. 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. &lt;br /&gt;&lt;br /&gt;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) &lt;em&gt;Il Carroccio&lt;/em&gt;, or Arturo Giovannitti’s literary but also politically leftist &lt;em&gt;Vita&lt;/em&gt;, Vincenzo Vacirca’s &lt;em&gt;Il Solco&lt;/em&gt;, Ernesto Vallentini’s socialist &lt;em&gt;Zarathustra&lt;/em&gt;, or Enrico Arrigoni’s anarchist-individualist &lt;em&gt;Eresia&lt;/em&gt;, all of which are reflected in the collection. &lt;br /&gt;&lt;br /&gt;The generically (and gently) leftist and anti-clerical &lt;em&gt;La Follia di New York&lt;/em&gt; 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. &lt;br /&gt;&lt;br /&gt;Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of &lt;em&gt;La Follia&lt;/em&gt; 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 &lt;em&gt;La Follia&lt;/em&gt;. &lt;br /&gt;&lt;br /&gt;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.</text>
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                  <text>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. &lt;br /&gt;&lt;br /&gt;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>
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                <text>&lt;strong&gt;&lt;em&gt;Viva Rambolot! (Bozzetto in un atto) &lt;/em&gt;&lt;/strong&gt;[Viva Rambolot! Sketch in one act]. &lt;strong&gt;Newark: Biblioteca de &lt;em&gt;L'Adunata dei Refrattari&lt;/em&gt;, [n.d.]&lt;/strong&gt;</text>
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                <text>This work depicts the domestic life of a prosecutor who tries to explain and justify his work activities to his daughter in the service of “the Law.”&lt;br /&gt;&lt;br /&gt;For a brief bio of Damiani (1876-1953), see entry for his &lt;em&gt;La bottega. &lt;/em&gt;After the deaths of Galleani and Malatesta, the fascist regime considered Damiani, always on the move although never in the U.S., as the leader of Italian anarchism.&lt;br /&gt;&lt;br /&gt;While we do not know the date of publication of this work, it was advertised in the 1940 Damiani publication as one of several of Damiani's works in the Biblioteca de &lt;em&gt;l'Adunata dei Refrattari&lt;/em&gt;, so it predates 1940.</text>
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                <text>Gigi Damiani</text>
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                <text>18.5 x 12.5cm; 24 p.</text>
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                <text>Italian</text>
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                  <text>&lt;em&gt;Political subversives III: Fascists and anti-fascists&lt;/em&gt;</text>
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                  <text>&lt;p&gt;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.&lt;br /&gt;&lt;br /&gt;As for fascism itself, its roots were in the nationalist fervor stoked by Italy’s late 19&lt;sup&gt;th&lt;/sup&gt; and early 20&lt;sup&gt;th&lt;/sup&gt; century imperialist ventures in Africa, which are reflected in several items in the collection. Fascism itself&lt;span&gt;, with its &lt;/span&gt;&lt;a href="http://en.wikipedia.org/wiki/Political_radicalism"&gt;radical&lt;/a&gt;&lt;span&gt; nationalist agenda, &lt;/span&gt;came to prominence in the first quarter of 20th-century Europe, originating in Italy during&lt;span&gt; &lt;/span&gt;&lt;a href="http://en.wikipedia.org/wiki/World_War_I"&gt;World War I&lt;/a&gt;.  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.  &lt;/p&gt;
&lt;p&gt;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 &lt;em&gt;Il Carroccio&lt;/em&gt;, (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 &lt;em&gt;Il Grido della Stirpe&lt;/em&gt; (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.&lt;/p&gt;
&lt;p&gt;Mussolini also promoted teaching the Italian language to Italian American schoolchildren, reflected in several items in the collection.&lt;/p&gt;
&lt;p&gt;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.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;</text>
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                  <text>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>
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                <text>&lt;strong&gt;&lt;em&gt;La bottega: scene della ricostruzione fascista &lt;/em&gt;&lt;/strong&gt;[The Workshop: scene of the fascist reconstruction].&lt;strong&gt; Detroit: Libreria Autonoma, 1927.&lt;/strong&gt;</text>
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                <text>A two-act, heavily anti-fascist play published by the Detroit anarchist group’s bookstore, the Libreria Autonoma (Autonomous Bookstore). (See also Lolmo, &lt;em&gt;Insurrezione e Rivoluzione&lt;/em&gt;, published by same publisher., part of the collecton.) &lt;br /&gt;&lt;br /&gt;Gigi Damiani (b. Rome, 1876; d. Rome, 1953) was an author well published in the U.S., but there is no evidence that he ever set foot in this country. Other than &lt;em&gt;La bottega&lt;/em&gt;, published in Detroit, the plays of Damiani were all published in the U.S. by &lt;em&gt;L’Adunata dei Refrattari&lt;/em&gt;, the Galleanisti publication edited by Max Sartin (Raffaele Schiavina), of which there are several in the collection. &lt;br /&gt;&lt;br /&gt;Damiani, an important anarchist figure in Italy - indeed, after the deaths of Galleani and Malatesta, considered by the fascist regime to be the most important Italian anarchist leader - was a compelling writer who as successfully as any, other than Cordiferro and Giovannitti, used the theatre as a means to promote anarchist ideas. He traveled throughout the world, including Brazil, France, Belgium, Spain and Tunisia. &lt;br /&gt;&lt;br /&gt;As recently as 1991, a more philosophical and theoretical work, Damiani’s &lt;em&gt;Saggio su di una concezione filosofica dell’anarchismo&lt;/em&gt; (An Essay of a Philosophical Conception of Anarchism) was first published, posthumously, in Pistoia, Italy, and is in the collection. Its publication so many decades after World War II, and nearly 40 years after Damiani's death, suggests the continued vitality of his ideas.</text>
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                <text>Gigi Damiani</text>
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                <text>Libreria Autonoma</text>
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                <text>1927</text>
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                <text>17.5 x 12.5cm; 30 p.</text>
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                <text>Italian</text>
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