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                <text>&lt;em&gt;&lt;strong&gt;Il Proletario &lt;/strong&gt;&lt;/em&gt;[The Worker], &lt;strong&gt;Anno 28&lt;/strong&gt;&lt;em&gt;. &lt;/em&gt;&lt;strong&gt;Chicago, Brooklyn: Industrial Workers of the World, 1924.&lt;/strong&gt;</text>
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                <text>The full run of issues of &lt;em&gt;Il Proletario&lt;/em&gt; from 1924, companion volume to the full run of 1923 issues also in the collection.&lt;br /&gt;&lt;p&gt;&lt;span style="font-weight:400;"&gt;This most important I.W.W. newspaper (which began in 1896 and lasted until 1946) was edited at various times by an all-star list of the Italian American left, from Carlo Tresca and Mario De Ciampis to Arturo Giovannitti, Angelo Faggi, Giuseppe Cannata and Edmondo Rossoni. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight:400;"&gt;The motto of the paper, evident on this page, is “Educazione – organizzazione – emancipazione. Conquistando la fabbrica, conquisteremo il mondo [Education – organization – emancipation. Subduing the factory, we will conquer the world]. The “Hour for Action” lead story is by Mario De Ciampis. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight:400;"&gt;Besides his role as a long-time editor of&lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt; Il Proletario&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;, De Ciampis was a &lt;/span&gt;&lt;span style="font-weight:400;"&gt;leading historian of the Federazione Socialista Italiana, and a close associate of Carlo Tresca. Ironically, unlike 1923, q.v., there was no May &lt;/span&gt;&lt;span style="font-weight:400;"&gt;Day issue in 1924, because the newspaper was in the middle of moving its base of operations from Chicago to Brooklyn, where it remained. See Durante, &lt;em&gt;Italoamericana&lt;/em&gt;, for a good discussion of the trajectory of this important newspaper, going back to its early years early in the 20th century.&lt;/span&gt;&lt;span style="font-weight:400;"&gt;&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;a href="https://italianamericanimprints.omeka.net/items/show/524"&gt;&lt;em&gt;Il Proletario&lt;/em&gt;, Anno 27 - 1923&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/468"&gt;&lt;em&gt;Il Proletario&lt;/em&gt; [main entry]&lt;/a&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Il Proletario &lt;/strong&gt;&lt;/em&gt;[The Worker], &lt;strong&gt;Anno 27&lt;/strong&gt;&lt;em&gt;. &lt;/em&gt;&lt;strong&gt;Chicago: Industrial Workers of the World, 1923.&lt;br /&gt;&lt;/strong&gt;</text>
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                <text>The full run of issues of &lt;em&gt;Il Proletario &lt;/em&gt;from 1923, the companion volume of the 1924 full run in the collection.&lt;br /&gt;&lt;br /&gt;The front page of the May Day 1923 issue of &lt;em&gt;Il Proletario&lt;/em&gt; feautres a striking cover illustration, captioned “The heads of the monstrous snakes finally fall, shattered,” that shows a muscular, bare-breasted woman about to strike, with an axe, a many-headed snake that threatens the children standing behind her, an image that reflects the symbolic importance of May Day among italian radicals in the New World with the rare use of red (or of any color) ink.&lt;br /&gt;&lt;p&gt;The “hour for Action” lead story is by Mario De Ciampis. relatively early on, May Day turned into a more joyous celebration as well, with food, drink and dancing, in addition to poetry readings and dramatic performances, such as Pietro Gori’s &lt;em&gt;Primo Maggio &lt;/em&gt;(May Day). The verso of this front page contains a poem by Virgilia D’Andrea entitled “Primo Maggio.” &lt;br /&gt;&lt;br /&gt;De Ciampis was  a long-time editor of &lt;em&gt;Il Proletario&lt;/em&gt;, leading historian of the Federazione Socialista italiana, and a close associate of Carlo Tresca. Ironically, there was no May Day issue the following year, 1924, see the companion volume, because the newspaper was in the middle of moving its base of operations from Chicago to brooklyn, where it remained.&lt;/p&gt;
&lt;p&gt;May Day had its origins as early as 1886, when unions and anarchist groups in Chicago led a series of demonstrations and protests demanding an eight-hour day, resulting in the haymarket massacre on May 4 of that year, in which several demonstrators and policemen were killed by a bomb thrown at the police. Five anarchists were subsequently executed for their participation, though no evidence linked them to the bombing. France declared May 1 as the international holiday of workers of the world in 1890. &lt;br /&gt;&lt;br /&gt;Traditional May Day celebrations remained alive among immigrants and the working class even after President Grover Cleveland in 1887 supported the Knights of labor’s recommendation that workers’ day be celebrated in September as labor Day. early May Day celebrations included strikes, mass protests and demonstrations, often ending in violence and police confrontations.&lt;br /&gt;&lt;br /&gt;For a good discussion of the history and significance of May Day among Italian immigrants of the left, see Marcella Bencivenni, &lt;em&gt;Italian Immigrant Radical Culture: the Idealism of the Sovversivi in the United States, 1890-1940&lt;/em&gt; (New York: NYU Press, 2011).&lt;/p&gt;</text>
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                <text>&lt;a href="https://italianamericanimprints.omeka.net/items/show/525"&gt;&lt;em&gt;Il Proletario&lt;/em&gt;, Anno 28 - 1924&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/468"&gt;&lt;em&gt;Il Proletario&lt;/em&gt; [main entry]&lt;/a&gt;</text>
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                    <text>&lt;p&gt;&lt;span style="font-weight:400;"&gt;This is the front page of the May Day 1923 issue (and a photo of the second of the two volumes, the one with all 1924 issues) of &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Il Proletario&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;, the I.W.W. newspaper edited at various times by authors whose works fill the collection, including Carlo Tresca, Mario De Ciampis, Arturo Giovannitti, Angelo Faggi, Giuseppe Cannata and Edmondo Rossoni. &lt;br /&gt;&lt;br /&gt;The striking cover illustration, captioned “The heads of the monstrous snakes finally fall, shattered,” shows a muscular, bare-breasted woman about to strike, with an axe, a many-headed snake that threatens the children standing behind her, an image that reflects the symbolic importance of May Day among Italian radicals in the New World with the rare use of red (or of any color) ink. &lt;br /&gt;&lt;br /&gt;Like the masthead design, it is signed “391,” which was the name of the French Dada-ist and Surrealist artist Francis Picabia’s magazine published at times in Paris and New York until 1924, and whose design colors were also black, red and white.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;The potential connection with this French artist is further suggested by a famous article by then-editor Rossoni in &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Il Proletario&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt; entitled “Liberty and Blood,” in which he wrote, “Liberty is not just a pretty woman. . . . Rather, she is a strong woman with strong breasts and a rough voice, with fire in her eyes . . .” This passage in the Francophile Rossoni’s article was based on a 19th-century French poem by Auguste Barbier, which lauded a symbolic Woman Liberty.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;The motto of the paper, evident on this page, is “Educazione – organizzazione – emancipazione. Conquistando la fabbrica, conquisteremo il mondo [Education – organization – emancipation. Subduing the factory, we will conquer the world]. The “Hour for Action” lead story is by Mario De Ciampis. &lt;br /&gt;&lt;br /&gt;Relatively early on, May Day turned into a more joyous celebration as well, with food, drink &lt;/span&gt;&lt;span style="font-weight:400;"&gt;and dancing, in addition to poetry readings and dramatic performances, such as Pietro Gori’s &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Primo Maggio &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;(May Day). &lt;br /&gt;&lt;br /&gt;The verso of this front page contains a poem by Virgilia D’Andrea entitled “Primo Maggio.” &lt;br /&gt;&lt;br /&gt;De Ciampis was a long-time editor of&lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt; Il Proletario, &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;leading historian of the Federazione Socialista Italiana, and a close associate of Carlo Tresca. Ironically, there was no May &lt;/span&gt;&lt;span style="font-weight:400;"&gt;Day issue the following year, 1924, because the newspaper was in the middle of moving its base of operations from Chicago to Brooklyn, where it remained. The collection has the full run of 1923–1924 issues.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;Marcella Bencivenna's &lt;em&gt;Italian Immigrant Radical Culture: the Idealism of the &lt;/em&gt;Sovversivi&lt;em&gt; in the U.S. 1890-1940&lt;/em&gt; does an excellent job of describing May Day. May Day had its origins as early as 1886, when unions and anarchist groups in Chicago led a series of demonstrations and protests demanding an eight-hour day, resulting in the Haymarket massacre on May 4 of that year, in which several demonstrators and policemen were killed by a bomb thrown at the police. Five anarchists were subsequently executed for their participation, though no evidence linked them to the bombing. France declared May 1 as the international holiday of workers of the world in 1890. &lt;br /&gt;&lt;br /&gt;Traditional May Day celebrations remained alive among immigrants and the working class even after President Grover Cleveland in 1887 supported the Knights of Labor’s recommendation that workers’ day be celebrated in September as Labor Day, to disconnect the labor movement from early May Day celebrations, which included strikes, mass protests and demonstrations, often ending in violence and police confrontations.&lt;/span&gt;&lt;/p&gt;</text>
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                  <text>The collection is rich in hard to find magazines and/or newspapers like Ernesto Valentini's &lt;em&gt;Zarathustra&lt;/em&gt;, Vincenzo Vacirca's &lt;em&gt;Il Solco &lt;/em&gt;and &lt;em&gt;La Strada&lt;/em&gt;, Aldino Felicani's &lt;em&gt;La Controcorrente&lt;/em&gt;, &lt;em&gt;Il Proletario&lt;/em&gt;, Enrico Arrigoni's &lt;em&gt;Eresia&lt;/em&gt;, Carlo Tresca's &lt;em&gt;Il Martello&lt;/em&gt; and &lt;em&gt;Guardia Rossa&lt;/em&gt;, Antonino Capraro's &lt;em&gt;Alba Nuova&lt;/em&gt;, Arturo Giovannitti's &lt;em&gt;Vita&lt;/em&gt;, Agostino De Biasi's &lt;em&gt;Il Carroccio, &lt;/em&gt;T. Lucidi's &lt;em&gt;Il Messaggero della Salute&lt;/em&gt;, Guido Podrecca's and Gabriele Galantara's &lt;em&gt;L'Asino&lt;/em&gt; (this last mostly published in Rome) and others.&lt;br /&gt;&lt;br /&gt;As Francesco Durante rightly observed in &lt;em&gt;Italoamericana&lt;/em&gt;, 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. &lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;The politics of the magazines and newspapers ran the gamut from left to right, and some - e.g., &lt;em&gt;Il Messaggero della Salute&lt;/em&gt; - 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 &lt;em&gt;Il Carroccio&lt;/em&gt;, and less overtly political writers like Salvatore Benanti and Federico Mennella often contributed literary pieces to leftist periodicals like &lt;em&gt;La Follia di New York. &lt;/em&gt;For example, Mennella wrote the dialect column for &lt;em&gt;La Follia &lt;/em&gt;for some time. The catholic nature of the magazines in the literary culture of the Italians reflected one of its strengths.&lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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 &lt;em&gt;Cronaca Sovversiva&lt;/em&gt; 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 &lt;em&gt;Il Martello&lt;/em&gt;, &lt;em&gt;La Follia di New York&lt;/em&gt;, &lt;em&gt;Il Carroccio&lt;/em&gt; 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.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Il Proletario &lt;/strong&gt;&lt;/em&gt;[The Worker]&lt;em&gt;. &lt;/em&gt;&lt;strong&gt;Chicago: Industrial Workers of the World, 1923-1924.&lt;/strong&gt;</text>
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                <text>The I.W.W. Italian language newspaper, &lt;em&gt;Il Proletario&lt;/em&gt;, has a glorious and lengthy history of many decades and almost unique importance in the Italian American non-anarchist left. &lt;br /&gt;&lt;br /&gt;It was started by Italian socialists in 1896 in Pittburgh, and soon moved to Paterson, NJ, and was directed, edited or published at various times and in various other locations - Chicago, New York, Boston, Brooklyn - by Camillo Cianfara, Giacinto Menotti Serrati, Carlo Tresca, Mario De Ciampis, Arturo Giovannitti, Angelo Faggi, Giuseppe Cannata, Arturo Caroti and Edmondo Rossoni, virtually all of whom are important authors in the collection. &lt;br /&gt;&lt;br /&gt;Durante provides a detailed and entertaining (though dizzying) discussion of the travails, moves, internal battles, and alliances made and alliances broken (between the I.W.W. and the Federazione Socialista Italiana, for example, but not only) in the newspaper during its half-century of existence from 1896 to 1947. Marcella Bencivenni, as well, discusses this newspaper at some length in &lt;em&gt;Italian Immigrant Radical Culture&lt;/em&gt;.&lt;br /&gt;&lt;br /&gt;As can be seen in the photo of the May Day issue reproduced here, the masthead is signed “391,” which seems curious until one realizes that this was the name of the French Dada-ist and Surrealist artist Francis Picabia’s magazine published at times in Paris and New York until 1924, and whose design colors were also black, red and white. &lt;br /&gt;&lt;br /&gt;The potential connection with this important French artist is further suggested by a famous article by then-editor Rossoni in &lt;em&gt;Il Proletario&lt;/em&gt; entitled “liberty and blood,” in which he wrote, “liberty is not just a pretty woman rather, she is a strong woman with strong breasts and a rough voice, with fire in her eyes.” This passage in the Francophile Rossoni’s article was based on a 19th-century French poem by Auguste Barbier, which lauded a symbolic Woman liberty. &lt;br /&gt;&lt;br /&gt;The motto of the paper, evident on this page, is “Educazione – organizzazione – emancipazione. Conquistando la fabbrica, conquisteremo il mondo [Education – organization – emancipation. Subduing the factory, we will conquer the world]."&lt;br /&gt;&lt;br /&gt;Collection includes:&lt;br /&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/524"&gt;&lt;em&gt;Il Proletario&lt;/em&gt;, Anno 27 - 1923&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/525"&gt;&lt;em&gt;Il Proletario, &lt;/em&gt;Anno 28 - 1924&lt;/a&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;Il processo muto di Sacramento, Cal.&lt;/em&gt; &lt;em&gt;The Silent Trial of Sacramento, Cal.&lt;/em&gt; Brooklyn: Ed. a cura del Libreria del Lavoratori Industriali del Mondo, [1919].&lt;/strong&gt;</text>
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                <text>This "silent" trial was part of a "frame-up," as author Jacopo Tori says. Before the "famous bombing" of July 1916, the Chamber of Commerce of San Francisco had collected a million dollars to fight organized labor in California. General strikes took place in San Francisco and environs. A bomb exploded under the house of the governor of California in Sacramento. But it neither killed nor even injured anyone, according to Tori.&lt;br /&gt;&lt;br /&gt;The trial for the accused in the bombing involved 43 I.W.W. activists who were condemned to prison sentences of one to ten years and responded with an unrepentant silence (and refusing counsel) in the face of a judge whose bias was obvious from the beginning. Maurice Bresler is apparently the name of the artist who did the cover portrait of one of the jailed men.&lt;br /&gt;&lt;br /&gt;Three of those who received sentences of ten years were Tori himself, Petro De Bernardi and Vincenzo Santilli, obviously all Italians, as the preface signed "G.C." - Giuseppe Cannata - explains in presenting "these unforgettable pages of teaching us about conscience and dignity of the working class."&lt;br /&gt;&lt;br /&gt;Before the sentences, on the day on which the grand jury rendered the indictments, the Wobblies had staged a prison revolt, protesting they deserved better treatment. writes Tori:&lt;br /&gt;&lt;br /&gt;"Some suggested they sing: 'Allright, fellows, let's have a song.' And one voice after the other sang 'Hold the Fort, for we are coming.' Almost every day the chorus sang the proletarian songs. Some of the preferred ones were 'Workers of the World, Awaken'; 'Rebel Girl'; 'The White Slave' and 'Scissorbill' - all by Joe Hill - as well as 'Dump the Boss off Your Back,' 'We are Coming Home Farmer John,' and others. Whenever the mood arose, it was time for 'Rang-tang! Rang-tang! Zin-tang! Zin-zuh-bah! Who in hell you think we are! . . Wobblies-wobblies-rah!-rah!-rah! Rough-tough-we never take a bluff - Of free speech, we never get enough.  Who! - We Wobblies!!!"</text>
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                <text>&lt;em&gt;&lt;strong&gt;L'I.W.W.: la sua storia, struttura e metodi&lt;/strong&gt; &lt;/em&gt;[The I.W.W.: its History, Structure and Methods]. &lt;strong&gt;Brooklyn: Libreria Ed. Del Lavoratori Industriali del Mondo, [c. 1919].&lt;/strong&gt;</text>
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                <text>Like &lt;em&gt;Che cosa è l’I.W.W.?,&lt;/em&gt; this work and&lt;em&gt; L'I.W.W. nella teoria e nella pratica&lt;/em&gt; of Justus Ebert three years later, in Chicago, q.v., are translations from English-language originals, intended to reach an Italian-language-only audience of workers who could help swell the ranks of the Wobblies.&lt;br /&gt;&lt;br /&gt;Vincent St. John, like Bill Haywood and Frank Little, was trained in the hard school of the Western Federation of Miners, a kind of model labor union that was prominent in that era in the late 19th and early 20th centuries. A metal miner by trade, St. John joined the Western Federation in 1894, and soon became an influential voice in its councils. He remained a member of the board of the that union  until 1907.</text>
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                  <text>&lt;em&gt;Political subversives IV: Arturo Giovannitti, Carlo Tresca, and their circles&lt;/em&gt;</text>
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                  <text>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. &lt;br /&gt;&lt;br /&gt;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 &lt;em&gt;Quando canta il gallo&lt;/em&gt; and several issues of a gorgeous literary-political magazine, &lt;em&gt;Vita&lt;/em&gt;, published beginning in 1915, a few issues of which became part of the collection only recently (2021). &lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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 &lt;em&gt;Il Martello&lt;/em&gt; [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 &lt;em&gt;Il Martello&lt;/em&gt;, 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.</text>
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                  <text>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>
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                <text>&lt;strong&gt;&lt;em&gt;Pagine scelte &lt;/em&gt;&lt;/strong&gt;[Selected Works]. &lt;strong&gt;Brooklyn Libreria dell'I.W.W., 1930.&lt;/strong&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Unionismo industriale e Sindacalismo&lt;/strong&gt; &lt;/em&gt;[Industrial and Trade Unions]. &lt;strong&gt;Brooklyn: Casa ed. Lavoratori Industriali del Mondo, 1923.&lt;/strong&gt;</text>
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                <text>The title page states Giantino as the author, with no publication date; however, this pamphlet begins with an introduction by Mario De Ciampis dated 1923. Like most unionist pamphlets, this pamphlet contains the preamble of the I.W.W., and also discusses industrial and trade unionism in the U.S. and Europe. &lt;br /&gt;&lt;br /&gt;“Giantino” was the pen name of Alibrando Giovannetti (1875–1945). In Italy, Giovannetti was secretary of the Unione Sindacalismo Industriale’s metalworkers union. A believer in non-violence, he saw peaceful occupation of factories as a substitute for insurrection. He and Armando Borghi, several of whose works are in the Collection, led one such factory occupation in Liguria in 1920.</text>
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                <text>The title on the cover also states, “Giustizia Capitalista” (Capitalist Justice), not present on title page. This work recounts the mass trial of I.W.W. members from 1917–1918 in the I.W.W.’s hometown of Chicago, in which a total of 820 years of prison sentences were handed down by Judge Kenesaw Mountain Landis, whose later appointment as Major League Baseball Commissioner was controversial. For his role in the trial, Judge Landis became one of the intended recipients of 13 bombs mailed by anarchists in late April 1919 in a plot that was instrumental in the deportation of Galleani, and that followed as well as preceded the passage of politically repressive acts, such as the Sedition Act of 1918, and the ultra-restrictive immigration law of 1924. &lt;br /&gt;&lt;br /&gt;Faggi (b. Florence, 1885; d. Piacenza, 1967) was deeply committed to the Federazione Socialista Italiana and had been a trade unionist active in Italy, France and Switzerland before coming to the U.S. Faggi was forced to flee from Italy to Switzerland for leading protests against Italy’s war in Tripoli, opposing the majority of Italians in the U.S., who took intense pride in colonialist wars, see, e.g., the popular 1911 Italian Book Company work written by Antonio &lt;span style="font-weight:400;"&gt;De Martino: &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Tripoli italiana: La guerra italo-turca. Le nostre prime vittorie&lt;/span&gt;&lt;/i&gt;. &lt;br /&gt;&lt;br /&gt;After leading demonstrations in Europe against the treatment of Ettor and Giovannitti during the Lawrence Bread and Roses Strike of 1912, Faggi was again compelled to leave his home, and came to the U.S. He replaced Giuseppe Cannata as editor of &lt;em&gt;Il Proletario&lt;/em&gt;, and brought the newspaper’s focus more towards worker organization rather than propaganda. &lt;br /&gt;&lt;br /&gt;Deported from the U.S. in 1919, Faggi returned to Italy, where he remained vehemently anti-Mussolini, pushing for both a syndicalist revolution and support for the Russian Revolution. Unable to stay out of conflict he again fled Italy, after he and several other leftists planted a fatal bomb at the Diana Theatre in Milan as a protest against bourgeois indifference to the attacks of the fascist squadristi (action squad members).</text>
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                <text>In the year following this “debate” between the revolutionary trade unions of the I.W.W. (and the Federazione) and the reformist A.F. of L., Joseph Ettor became one of the leaders of the Lawrence “Bread and Roses” strike of 1912. &lt;br /&gt;&lt;br /&gt;It was fateful that Giovannitti, who later joined Ettor and Joseph Caruso in that strike, would write the preface to the record of this debate. Arturo Caroti had long been the administrator of &lt;em&gt;Il Proletario&lt;/em&gt; and the FSI’s official propagandist in 1904–05, as well as a strong partisan of Tresca personally and politically, admiring the latter as a “man of action, courageous to the point of recklessness . . . always in the front lines of the proletarian struggle. . . .” &lt;br /&gt;&lt;br /&gt;This is Mario De Ciampis’s personal copy, with his name written at the top of the front wrapper. See De Ciampis’ connections to &lt;em&gt;Che cosa è il I.W.W.?&lt;/em&gt;, &lt;em&gt;Il Proletario&lt;/em&gt;, &lt;em&gt;Unionismo industriale e sindacalismo&lt;/em&gt;, and &lt;em&gt;Cinquantesimo Anniversario 1908-1958. La Parola del Popolo&lt;/em&gt;).</text>
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                <text>&lt;strong&gt;&lt;em&gt;A proposito d'un regicidio?; Biblioteca "Questione Sociale" Nono Opuscolo&lt;/em&gt;&lt;/strong&gt; [What About a Regicide? Library of "La Questione Sociale," Ninth Pamphlet]. &lt;strong&gt;Paterson: Tipo. De "El Despertar," 1900.&lt;/strong&gt;</text>
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                <text>&lt;p&gt;Gaetano Bresci, the Italian American silkworker in Paterson travelled to Italy to assassinate Italian King Umberto, and succeeded in doing so on July 29, 1900. Published in the &lt;em&gt;Biblioteca&lt;/em&gt; of the famous Paterson socialist and anarcho-syndicalist newspaper &lt;em&gt;La&lt;/em&gt; &lt;em&gt;Questione Sociale&lt;/em&gt; (Nono Opuscolo), whose editors over the years included Ludovico Caminita and others in the collection. At its height, between 1897 and 1908, the newspaper's circulation was reportedly about 3,000 copies (see George Carey. "'La Questione Sociale,' an Anarchist Newspaper in Paterson, New Jersey (1895-1908)." In L. Tomasi 1985, 291. The other major Italian anarchist book publisher of this era in Paterson was the Libreria Sociologica, q.v.&lt;br /&gt;&lt;br /&gt;Esteve was the foremost Spanish anarchist in America, a charismatic leader whose ability to speak and write in Italian as well as Spanish enabled him to be a leader among Italian American as well as Spanish and Mexican anarchists. He was editor of, among other publications, &lt;em&gt;Cultura Obrera&lt;/em&gt; (1925 circulation, 4,000). &lt;br /&gt;&lt;br /&gt;Born in Barcelona in 1866, he was married to an Italian wife. Starting in 1892, he was editor of &lt;em&gt;El Despertar&lt;/em&gt;, a Spanish anarchist journal in Paterson. Mexican and Spanish anarchists socialized with Italian anarchists at the bookstore/publisher Libreria Sociologica in Paterson. Esteve also published a small Spanish anarchist newspaper in Ybor City in Florida, but left when his life was threatened for his activities.&lt;/p&gt;
&lt;p&gt;He became secretary of the I.W.W. in New York, to serve the many Spanish sailors and dock workers, but resigned quietly because of disagreements with the organization, whose origins were somewhat to the right of the I.W.W. He held regular meetings of anarchists at his home in Weehawken.&lt;/p&gt;</text>
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                <text>The English language original of this 1920 work remains in print in a fifth edition. It has been translated into 8 languages. This translation from the English-language original was intended to reach an Italian-language-only audience of workers who could help swell the ranks of the Wobblies.&lt;br /&gt;&lt;br /&gt;Justus Ebert (b. 1869) was the author, in English, of several works translated into Italian, in the collection.</text>
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                <text>This is an Italian-language translation from English by John La Duca of the address to the jury by Socialist Party perenial Presidential candidate Eugene Debs on September 12, 1918.&lt;br /&gt;&lt;br /&gt;Note the compliance with a legal requirement of a representation that this work was a "true translation filed with the Post Master of Chicago, Illinois," presumably a requirement to prevent the insertion of seditious sentiments that would have been obvious in an English language version.&lt;br /&gt;&lt;br /&gt;Debs had been arrested earlier in the year and charged under the Sedition Act for delivering an anti-war speech to a crowd of socialists and I.W.W.s in Canton, Ohio. &lt;br /&gt;&lt;br /&gt;Adored by Italian socialists in the U.S., Debs chose to represent himself in his defense, and ended up serving three years in prison.&lt;br /&gt;&lt;br /&gt;The Collection also has Debs' speech on May Day, 1919, while he is at the doors of the prison, "alla vigilia di essere relegato in prigione [on the eve of being banished into prison]," q.v.</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;Efrem Bartoletti: Riflessioni poetiche &lt;/em&gt;&lt;/strong&gt;[Efrem Bartoletti: Poetic Reflections].&lt;strong&gt; Milano: Gastaldi Ed., 1955.&lt;/strong&gt;</text>
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                <text>Issued in the series of ""Poeti d'oggi"" (Poets of Today). This copy of Bartoletti’s collection of poems is inscribed in the year of publication "in homage to the old friend and companion of more noble, truly democratic, ideals" in the mining town of Scranton, PA, where Bartoletti settled upon his return to the U.S. in the 1950s after spending some years back in Italy. &lt;br /&gt;&lt;br /&gt;Bartoletti, a miner as well as a poet, published one work in New York many years prior to this one, &lt;em&gt;Nostalgie proletarie. Raccolta di canti poetici e di inni rivoluzionari&lt;/em&gt; (Proletarian nostalgia. Collection of poetic songs and revolutionary hymns) (Brooklyn: Libreria Editrice dei Lavoratori Industriali del Mondo, 1919), one of the works reproduced in facsimile in &lt;em&gt;Riflessioni poetiche&lt;/em&gt;, which is in the collection. &lt;br /&gt;&lt;br /&gt;Bartoletti (b. Costacciaro, 1889; emigrated to U.S. in 1909; d. Scranton, 1961) was one of the more important Italian members of the Italian section of the I.W.W., the “Wobblies,” vigorously participating in the I.W.W. strike of 1916 on the Mesabi Iron Range in Minnesota, about which he reported to the readers of Il Proletario with a series of letters from Duluth. His poetry, including revolutionary hymns, either reflected a robust solidarity with his fellow proletarians, or his homesickness for his native Umbria.</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>This is one of two works by Braida, and in the same period, published by the Libreria Ed. dei Lavoratori industriali del Mondo, i.e., the I.W.W, and in the Collection. The other is &lt;em&gt;Unionismo industriale&lt;/em&gt;, co-authored with Giovanni Baldazzi.</text>
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