<em><strong>Mussolini in camicia<span> </span></strong></em><span>[Mussolini in a Nightshirt]</span><strong>.<span> </span></strong><strong>Bologna: <span>Mammolo Zamboni, 1947.</span></strong>
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.<br /><br />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.
Armando Borghi
Mammolo Zamboni
1947
17.5 x 14cm; 179 p.
Italian
<em><strong>Mussolini in camicia<span> </span></strong></em><span>[Mussolini in a Nightshirt]</span><strong>.<span> </span></strong><strong>Napoli: <span>Edizioni Scientifiche Italiane, 1961.</span></strong>
<br />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.<br /><br />Borghi's work continued its popularity in Italy, some 16 years after the war's end.<br /><br />This is the second of two post-war editions published in Italy that is in the collection (the other was published in 1947). Borghi's work was only published in Italy (of course, in the Italian original) after the war ended, and in several editions (in 1947, q.v.), but then also in this edition in 1961. 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.
Armando Borghi
1961
21 x 13.5; 192 p.
Italian
<em><strong>Mussolini in zijn hemd </strong></em>[Mussolini in a Nightshirt]<strong>. Amsterdam: N.V. De Arbeiderspers, [1933].</strong>
<p>Anyone wondering why the collection would include a book printed in Dutch will want to consult the main entry for the first Italian publication, in New York, of Armando Borghi's <em>Mussolini in camicia</em>.<br /><br />This is the Dutch translation of that work: s<span style="font-weight:400;">hortly after arriving in America in the wake of Mussolini's repression of the press, Borghi in 1927 published </span><i><span style="font-weight:400;">Mussolini in camicia </span></i><span style="font-weight:400;">in Italian in the only safe place to do so at the time, New York. <br /><br />This work became internationally popular, was translated into French and published in Paris (1932), in Amsterdam in Dutch (1933), and then translated into English from the French edition, not the Italian original, and published in London (1935). <br /></span></p>
<p><span style="font-weight:400;">The collection contains all these editions, as well as two post-World War II editions published in Italy, in 1947, when it was finally safe to do so, and in 1961, which attests to the continuing interest in the work.</span></p>
Armando Borghi
N.V. De Arbeiderspers
19.5x13.5cm; 190 p.
Dutch
<em><strong>Mussolini in camicia </strong></em>[Mussolini in a Nightshirt]<strong>. </strong><strong>New York: Edizioni Libertarie, 1927.</strong>
<p><span style="font-weight:400;">Armando Borghi’s unflattering biography of Mussolini, </span><i><span style="font-weight:400;">Mussolini in camicia</span></i><span style="font-weight:400;">, </span><span style="font-weight:400;">was too dangerous (to author, publisher or printer) to be released in Italy: soon after Mussolini’s rise to power in 1922, publishing a work criticizing him or the Fascist Party 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. <br /><br />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). </span></p>
<p><span style="font-weight:400;">Shortly thereafter, in 1927 Borghi published </span><i><span style="font-weight:400;">Mussolini in camicia </span></i><span style="font-weight:400;">in Italian in the only safe place to do so at the time, New York, where it would also gain traction. In fact, this work became internationally popular: it was translated into French and published in Paris (1932), in Amsterdam in Dutch (1933), and then translated into English from the French edition, not the Italian original, and published in London (1935). </span><i><span style="font-weight:400;">Mussolini in camicia</span></i><span style="font-weight:400;"> was again published in America, but in English, in 1938 using the same British translation, by the Freie Arbeiter Stimme (a Yiddish anarchist newspaper in New York) and was not published in Italy until 1947, not long after the war’s end and Mussolini’s demise.<br /><br />All of these editions are in the collection, including 1947 and 1961 editions published in Italy, the latter attesting to the continuing importance of Borghi's work years after the war's end.</span></p>
<p><span style="font-weight:400;">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, in 1919). However, Carlo Tresca, 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</span><i><span style="font-weight:400;"> L’Adunata dei Refrattari,</span></i><span style="font-weight:400;"> a move that he eventually came to regret. Like the Galleanisti, Borghi attacked Tresca not only on ideological grounds but also on personal ones.</span></p>
When it first appeared in New York, in its original Italian, <em>Mussolini in camicia</em> was published and promoted by three anarchist clubs, Gruppo Anarchico di South Brooklyn, Circolo Volontà, and Circolo Operaio di Cultura Sociale. Such clubs existed to advance culture, knowledge and a working-class consciousness among Italian immigrants, and formed the intellectual nucleus of the movement, as well as being centers for education, recruitment and propaganda. See Marcella Bencivenni, <em>Italian Immigrant Radical Culture</em>, 52-54.<br /><br />The <em>circoli</em> also provided access to literature through their own “librerie rosse,” i.e., red bookstores, whose works are well represented in the collection. <br /><br />In this work, Borghi traces Mussolini’s rise in his native Romagna, whence Borghi also hailed. <br /><br />Describing Mussolini’s transformation from young socialist, Borghi explains in <em>Mussolini in camicia</em> why Mussolini disowned socialism, how he allied himself with military politics, and answers the question of whether he saved Italy from revolution. “Should he be classed among the heroes or the scoundrels, the charlatans or the idealists . . . ?” <br /><br />It’s clear where Borghi came out on those questions, which explains why the work could not be published in Italy while Mussolini was in power.
Armando Borghi
Ediz. Libertarie
1927
18.5 x 13cm; 183 + 60 p.
Italian
<strong><em>Dio e patria: nel pensiero dei rinnegati.</em> New York: [n.p.], [c. 1924-1925].</strong>
<p><span style="font-weight:400;">This work reproduces, first, the record of a debate on March 25, 1904 (and Mussolini’s preface thereto, dated July 1904), in Lausanne (Lossana), Switzerland between the then virulently anti-clerical young socialist Mussolini, already known for his violent oratory and animal vitality, and the evangelist Taglialatella over the existence of God, in which Mussolini affirmed his belief in the absurdity of the concept of God. <br /><br />The editors here note that they are republishing the record of this debate twenty years later — after Mussolini became Italy’s prime minister, but probably before he became “Il Duce” in 1925 — to reflect a favorite radical theme about the once anti-clerical Mussolini: that in consolidating his power and distancing himself from his early socialist and anti-clerical roots, he embraced the Church and capitalism, and in so doing became a “</span><i><span style="font-weight:400;">voltagabbana”</span></i><span style="font-weight:400;"> (turncoat) to his origins. See also reference to Paolo Valera's <em>Mussolini</em>, to the same effect, in description of his <em>Il fascismo</em>.<br /><br />The second essay recounts a religious debate between Tancredi and a priest in Providence, R.I., on December 11, 1910, subsequent to the first edition. See Antinatale (New York, 1910]for another work in the Collection by Tancredi. The third is a translation of a French political philosopher’s argument about the “lies” of patriotism.</span></p>
<p><span style="font-weight:400;">It was at the time and place of the 1904 debate that Carlo Tresca met Mussolini, who chided the older Tresca for “not being revolutionary” enough, according to Tresca in his autobiography. It is difficult to imagine anything more ironic, given their later histories, than that Mussolini could have said at any time that Tresca “was not sufficiently imbued with the spirit of revolt.” </span></p>
<p><span style="font-weight:400;">This undated work calls itself a “second edition” at “the distance of twenty years” from its first appearance in print. Indeed, it would have been virtually impossible to print or publish it in Italy, if it was in fact 1924, for by that time, Mussolini had managed to pass legislation to gag the press.</span></p>
This work was heavily advertised in <em>Il Martello</em> in 1924-1925.
Benito Mussolini
[Libero] Tancredi
[Gustavo] Herve
[n.p.]
[c. 1924-1925]
18.5 x 12cm; 133 p.
Italian
<em><strong>Mussolini: storia d'un cadavere</strong> </em>[Mussolini: history of a cadaver]. <strong>New York: La Strada Publishing Co., 1942.</strong>
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. <br /><br />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. <br /><br />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 <em>The Body of Il Duce</em> (New York: Owl, 2005).<br /><br />See discussion of the publisher, La Strada Publishing Co., in the description of <em>La Strada</em> magazine, q.v., started by Vacirca.
Vincenzo Vacirca
La Strada Publishing Co.
1942
19.5 x 13cm; 301 p.
Italian
<strong><em>Il Carroccio (The Italian Review): rivista di coltura propaganda e difesa italiana in America</em>, Anno 12, Vol. 23.</strong><strong> New York: Il Carroccio Publishing Co., Gennaio [January] - Giugno [June] 1926.<br /></strong>
This six-month period includes Eugenio C. Branchi's "Sarete mia, Laura," a novella by Nelly Valgolio, and an essay by Mussolini (Jan.); an essay by Giovanni Preziosi (Feb.); a piece by futurist theorist F. T. Marinetti, "Come nacque il Fascismo" and poetry of Salvatore Cutino (March); another essay by Mussolini and some verse by Rosa Zagnoni Marinoni (April); more verse by Marinoni and "Italians are busy under Mussolini" (May); and two more essays by Mussolini (June).<br /><br />See both the description in the 1915 volume below (<a href="https://italianamericanimprints.omeka.net/items/show/326"><em>Il Carroccio, </em>Anno 1, Vol. 2, Nos. 8-12 - Agosto [August] - Dicembre [December] 1915</a>) and in the "main entry" at the end (1915-1932) for <em>Il Carroccio</em> for its history and place in Italian American publishing.
Agostino De Biasi
Il Carroccio Publishing Co.
Gennaio [January] - Giugno [June] 1926
<a href="https://italianamericanimprints.omeka.net/items/show/326"><em>Il Carroccio, </em>Anno 1, Vol. 2, Nos. 7-12 - Agosto [August] - Dicembre [December] 1915</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/423"><em>Il Carroccio, </em>Anno 5 [Facsimile] - 1919</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/324"><em>Il Carroccio, </em>Anno 5, Vol. 9, No. 6 - Giugno [June] 1919</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/325"><em>Il Carroccio, </em>Anno 6, Vol. 12, No. 3 - September 1920</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/328"><em>Il Carroccio</em>, Anno 12, Vol. 24 - Luglio [June] - Dicembre [December] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/329"><em>Il Carroccio</em>, Anno 13, Vol. 25 - Gennaio [January] - Giugno [June] 1927</a><em></em><br /><a href="https://italianamericanimprints.omeka.net/items/show/330"><em>Il Carroccio</em>, Anno 13, Vol. 26 - Luglio [June] - Dicembre [December] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/331"><em>Il Carroccio</em>, Anno 14, Vol. 27 - Gennaio [January] - Giugno [June] 1928</a><em><br /><a href="https://italianamericanimprints.omeka.net/items/show/332">Il Carroccio</a></em><a href="https://italianamericanimprints.omeka.net/items/show/332"><em>,</em> Anno 14, Vol. 28 - Luglio [June] - Dicembre [December] 1928</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/333"><em>Il Carroccio</em>, Anno 15, Vol. 29 - Gennaio [January] - Maggio [May] 1929 </a><em><br /><a href="https://italianamericanimprints.omeka.net/items/show/334">Il Carroccio</a></em><a href="https://italianamericanimprints.omeka.net/items/show/334"><em>,</em> Anno 15, Vol. 30 - Luglio [June] - Dicembre [December] 1929</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/335"><em>Il Carroccio</em>, Anno 16, Vol. 31 - Gennaio [January] - Giugno [June] 1930</a><em><br /><a href="https://italianamericanimprints.omeka.net/items/show/336">Il Carroccio</a></em><a href="https://italianamericanimprints.omeka.net/items/show/336"><em>,</em> Anno 16, Vol. 32 - Luglio [June] - Dicembre [December] 1930</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/337"><em>Il Carroccio</em>, Anno 17, Vol. 33 - Gennaio [January] - Giugno [June] 1931</a><em><br /><a href="https://italianamericanimprints.omeka.net/items/show/338">Il Carroccio</a></em><a href="https://italianamericanimprints.omeka.net/items/show/338"><em>,</em> Anno 17, Vol. 34 - Luglio [June] - Dicembre [December] 1931</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/339"><em>Il Carroccio</em>, Anno 18, Vol. 35 - Gennaio [January] - Giugno [June] 1932</a><em><br /><a href="https://italianamericanimprints.omeka.net/items/show/340">Il Carroccio</a></em><a href="https://italianamericanimprints.omeka.net/items/show/340"><em>,</em> Anno 18, Vol. 36 - Luglio [June] - Dicembre [December] 1932</a><br /><br /><a href="https://italianamericanimprints.omeka.net/items/show/323"><em>Il Carroccio</em> [main entry]</a>
Italian
<strong><em>La carezza divina: romanzo</em> </strong>[<span>The Divine Caress: a Novel]. <strong>Milano: Casa ed. Sonzogno (Alberto Matarelli), 1939-XVII.</strong></span>
The special interest of this work is that it provides an autobiographical glimpse of Pallavicini, hidden behind the character Giorgio Albani. It provides a closeup and intimate portrayal of the "irresolute dualism of the children of the second generation," who in the final pages, "become temporarily appeased, thanks to the apparition of a hero of art (Mascagni) and of a dramaturgic hero of the new Italy," none other than Mussolini, who is "forging a new Italy" (Durante, Marazzi).<br /><br />Note the fascist year of publication following the standard common era year.
Paolo Pallavicini
Casa ed. Sonzogno (Alberto Matarelli)
1939-XVII
22.5 x 15.5cm; 575 p.
Italian
<strong><em>John Huss the Veracious.</em> New York: Italian Book Co., 1939.</strong>
The book opens with an adulatory preface by "Italian Book Co.," probably De Martino himself. <br /><br />This is one of the relatively few works published by the Italian Book Company in English, presumably to reach a wider audience of Italian American readers not so fluent in Italian as the publisher’s usual readers. <br /><br />From the photo (shot from below) of Mussolini on the cover, rather than an image of the ostensible subject of the book, we already realize that the publisher thought the author more important than the book’s subject. <br /><br />Indeed, the publisher describes this as a youthful work of Mussolini about the 14th–15th century Bohemian heretic, Jan Hus, one in which the dictator’s - not Hus's - “luminous genius is shown,” adding that this work shows Mussolini’s early perception that “the Italians of tomorrow will not be as the Italians of yesterday,” as Italy is “in a process of formation,” with the “powerful propulsion of his will power,” by which Mussolini has “changed the face of Italy, reconstructing the Second Empire of Rome.”
Benito Mussolini
Italian Book Co.
1939
20 x 13.5cm; 151 p.
English
<strong>La<em> crisi sociale da Cristo a Mussolini</em></strong> [The Social Crisis from Christ to Mussolini].<strong> New York: Cocce Brothers, 1933.</strong>
<span>In this 24-page pamphlet, Lisanti praises fascism, though noting its differences from Christianity. Lisanti declares that fascism has substituted for Christ’s exhortation to “Love your neighbor as you love yourself,” the “political imperative of deductive reason: ‘Act so as to cooperate for the common good,’” promoting the political relation between capital and work for creating a social equilibrium, just as Christianity proclaimed the moral relation between riches and poverty in order to create social equilibrium. <br /><br />Lisanti seems an unlikely candidate to have become a Black Shirt or Khaki Shirt (i.e., a militant fascist) rather than the philosophical fascist as seen in a work like this one, much as Renzo Novatore was more a philosophical anarchist rather than a man of action (much less violent action). Lisanti believed fascism is “the affirmation of historical determinism,” to navigate safely between the Scylla of Socialism and the Charybdis of Communism, in Lisanti’s view.<br /><br />In 1916, Lisanti authored a standard Italian-English dictionary published by the Società Libraria Italiana, q.v. I find no biographical information in Flamma, Durante or other sources about Lisanti. (There is a Lisanti chapel in the Bronx added to the National Register of Historic Places in 2002, but it was built in 1905 by Francesco Lisanti.)<br /></span>
<span>Dott. Gaetano F. Lisanti</span>
Cocce Brothers
1933
23.5 x 15.5c; 24 p.
Italian
<strong><em>I nostri fiori alla patria </em></strong>[Our Flowers for the Homeland].<strong> New York: Società Tipografica Italiana, 1924.</strong>
<em>I nostri fiori</em> is a collection gathered by Di Vita of poems by others of homage to Italy, either as “la patria” (the fatherland) or as “soave madre gentile” (kind, sweet mother), with an occasional expression of hope that fascism would prevail.<br /><br />Di Vita (b. Palermo, 1880; d. New York, 1939), who immigrated to America in 1905 or 1906, directed several literary newspapers and founded the <em>Cenacolo Artistico Letterario Vincenzo De Simone</em>. He also published several volumes of poetry, generally in the Sicilian dialect.<br /><br />Di Vita's nationalistic and gently fascistic attitude hardened not long after, and in 1933 he published a massive, 12-volume work dedicated to “Il Duce,” the <em>Raccolte del Decennale</em>, an exhaustive, detailed documentation of all published works in the two Americas pertaining to fascism.
Rosario Di Vita
Societa Tipografica Italiana
1924
20 x 13cm; 111 p.
Italian
<strong><em>Mussolini.</em> New York: Italy Publishing Co., 1923.</strong>
Bound in one volume (with Guido Podrecca's<em> Il fascismo</em>, q.v.), not separately paginated. <br /><br />This, the first (pp. 1- 174) of two works bound together, is that of De Fiori (b. Venezia, 1890; active 1910s-1940s), who knew Mussolini “intimamente” from contact during readings and from the time that Mussolini was expelled from the Socialist Party in Italy. <br /><br />Earlier, in 1915, De Fiori left Milan to go to Barre, Vermont, in the years when Luigi Galleani was there, in order to take on the role of secretary of the Cooperative Union. In 1916, when another newspaper he worked for, the <em>Rinascenza Italica</em>, merged with <em>Il Messagero</em> in Paterson, De Fiori moved to New York to direct the new newspaper, the first and only one in America to publish Mussolini’s war diaries. <br /><br />In 1921–1922, De Fiori was involved in organizing in New York the first Fascist Party cell outside of Italy. In 1928, Dutton published his obviously admiring <em>Mussolini — the Man of Destiny</em> in the U.S.
Vittorio E. De Fiori
Italy Publishing Co. [Printed by Il Carroccio Publ. Co.]
1923
21 x 15cm; 351 p.
Italian
<strong><em>Mussolineide: poema antifascista e di rivendicazione sociale </em></strong>[The Mussoliniad: An antifacist Poem of Social Demands].<strong> [n.p.]: [n.p.], [n.d.]</strong>
This anonymous work, an elegantly written and substantial (nearly 300 pages) mock-epic in terza rima of sixteen cantos, is of course about the life and work of Mussolini. It bears signs of perhaps more communist than either socialist or anarchist views of the anonymous author. Its citation to the evil deeds of the Americans, Rockefeller and Ford, as capitalist devils — in effect, as collaborators of Mussolini — matches a communist point of view of the international capitalist conspiracy, but does not mark the work necessarily as an American one. <br /><br />This work is something of a bibliographic mystery; the only other copy is in the Biblioteca della Fondazione Anna Kuliscioff - Milano - MI MI 1196, LO 11C; its description there says "stampato probabilmente negli Stati Uniti" (probably printed in the U.S.). But that seems incorrect to me: there would be little need to publish anonymously in the U.S. a "Poema in 16 canti in terzine di autore ignoto stampato in luogo ignoto," that is, correctly noting that it is a poem of an unknown author, printed in an unknown place. <br /><br />That's the reason I think it was not published in the U.S.: Borghi, after all, published his scathing <em>Mussolini in camicia</em> in 1927 in the U.S., q.v., under his already famous name as author in that work, without apparent fear of reprisal, at a time when that would have been impossible in Italy due to the anti-press laws in effect under Mussolini.
[Anon.]
[n.p.]
[n.d.]
19 x 13cm; 297 p.
Italian
<strong><em>Mussolini Red and Black</em>. New York: Freie Arbeiter Stimme, 1938.</strong>
For a full description of this work and its significance, see the description of it in the entry for the 1927 edition (published in New York) of <em>Mussolini in camicia, </em>q.v. <br /><br />It took 11 years for Borghi's work to return in translation to New York, where it had been published in Italian initially, and in between, in French, Dutch and English (in London) versions.<br /><br />Note that this is the same translation by Dorothy Daudley as appeared in the previously issued UK edition. As I note in that work's description, Daudley's translation was from the French translation, rather than the Italian original, which is never ideal, of course.<br /><br />Note that like the UK edition, this one contains the fanciful view expressed in the title of the Epilogue included here, "Hitler: Mussolini's Disciple."<br /><br />The Collection contains the original (and post-war) Italian language editions, as well as the French, Dutch, British and this U.S. edition. <br /><br />To be sure, an interesting research project would be to compare all editions, especially to see whether the English translation from the French translation missed anything of significance in the Italian original. In addition, it would be interesting to see if the post-war editions published in Italy follow - as one hopes - the italian original rather than being a translation either from the English or French versions.
Armando Borghi
Freie Arbeiter Stimme
1938
18.5 x 13.5cm; 207 p.
English
<strong><em>Mussolini Red and Black.</em> London: Wishart Books Limited, 1935.</strong>
Note that his translation by Dorothy Daudley is from the 1932 French edition (<em>Mussolini en chemise</em>, q.v.), rather than the Italian original of 1927 in New York. <br /><br />This edition also includes an Epilogue (fancifully entitled "Hitler: Mussolini's Disciple") that is not in the original Italian version.<br /><br />See the description of the 1927 Italian original (published in New York, the only place then safe for it to be published), <em>Mussolini in camicia</em>, for a biographical sketch of Borghi as well as the multi-national, multi-lingual journey of this work over several decades.<br /><br />As for information about Wishart Books, we find that Lawrence Wishart currently publishes "critical left ideas on politics and culture since 1936," but that is a year after this publication.
Armando Borghi
Wishart Books Limited
1935
19 x 13 cm; 189 p.
English
<strong><em>Fascismo dalla marcia su Roma all'impero </em></strong>[Fascism from the March on Rome to the Empire].<strong> Boston: Peabody Press, 1937.</strong>
An obviously laudatory view of fascism from the author, with an unusual smiling faced portrait of Mussolini, with facsimile signature, as a frontispiece. <br /><br />Boscarini was a radio announcer in Italian on four radio stations in the Greater Boston area. With a doctor of laws degree from Italy, quadri-lingual, he taught art in the Michelangelo School in Boston's North End.<br /><br />What a publisher called Peabody Press in a city like Boston was doing publishing a work like this suggests Boscarini's influence in the larger non-Italian community, or the impact the publisher believed he could have on the Italian American community because of his radio show, or Mussolini's popularity among Italian Americans, or perhaps some combination of these.
Giovanni Boscarini
Boston: Peabody Press
1937
Italian