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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;La donna e la famiglia: conferenza tenuta in Buenos Aires nel antico Teatro Iris, il 25 novembre 1900&lt;/em&gt;&lt;/strong&gt; [The Woman and the Family: lecture held in Buenos Aires in the old Teatro Iris, 25 November 1900]. &lt;strong&gt;Edizioni di propaganda Culmine: Buenos Aires, 1927.&lt;/strong&gt;</text>
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                <text>The founder (in 1925) and editor of the anarchist newspaper &lt;em&gt;Culmine&lt;/em&gt; in Buenos Aires was an Italian anarchist named Severino Di Giovanni (b. 1901 Abruzzo - d. 1931 Buenos Aires). Di Giovanni initiated and carried out a campaign of violence in Argentina in support of Sacco and Vanzetti and anti-fascism. He wrote both for his own paper, which advocated direct action and propaganda of the deed, and for &lt;em&gt;L'Adunata dei Refrattari&lt;/em&gt; in the U.S. (thus explaining the reference below, and note in the photos that Di Giovanni is listed as the contact for getting copies of &lt;em&gt;L'Adunata&lt;/em&gt; and &lt;em&gt;Casa Savoia&lt;/em&gt;). On May 16, 1926, several hours after Sacco and Vanzetti were given death sentences, Di Giovanni bombed the U.S. embassy in Buenos Aires, destroying the front of the building, and seems also to have been at least partially responsible for the bombing of the Ford Motor Company, Citibank, Bank of Boston in the capital, and the statue of George Washington in the Palermo neighborhood of the city. Di GIovanni was executed by firing squad following his role in a gun fight, shouting "Evviva l'Anarchia!"&lt;br /&gt;&lt;br /&gt;Author Pietro Gori was, most would say, an even more famous and internationally known Italian anarchist than Errico Malatesta or Armando Borghi. The inclusion of this South American publication reflects the importance of Gori's role as a leading anarchist thinker and speaker throughout the entire Italian diaspora. &lt;br /&gt;&lt;br /&gt;Indeed, as the title of the introduction by Farina D'Anfiano (author, philosopher, adherent of Benedetto Croce) to the work has it, Gori was "Il Poeta dell'Anarchia," the poet of Anarchism. Gori's main point is that just as workers submit to the economic tyranny of the capitalist class, so women are by custom and by laws enslaved by the masculine sex. It is wrong, he goes on to say, to treat the desire of women for elevation and emancipation as a problem separate from all the other social questions - this desire is not different from that of the worker wanting emancipation from his oppression.&lt;br /&gt;&lt;br /&gt;We also note that in the inside front cover, anarchist publications throughout that broad Italian world - including the U.S.'s &lt;em&gt;L'Adunata dei Refrattari&lt;/em&gt;, for which &lt;em&gt;Culmine&lt;/em&gt; editor/owner Di Giovanni wrote articles, q.v. in the Collection - are reflected in this 1927 publication, when Mussolini's political repression of the left was in full force.&lt;br /&gt;&lt;br /&gt;Note also the advertisement for Paolo Schicchi's &lt;em&gt;Casa Savoia&lt;/em&gt;, q.v. in the Collection.&lt;br /&gt;&lt;br /&gt;On the rear cover, to emphasize the unity of anti-fascist Italians wherever they were by 1927, and consistent with &lt;em&gt;Culmine&lt;/em&gt; editor Di Giovanni's philosophy, it is noted that the "Edizioni a beneficio totale della stampa anarchica e delle vittime politche d'Italia [these editions for the complete benefit of the anarchist press and of political victims of the Italy of today]" &lt;br /&gt;&lt;br /&gt;It was indeed the anarchist press wherever it could be found that kept Italian anti-fascists, who were political victims, united in purpose everywhere, with DiGiovanni as an exemplar of that philosophy.</text>
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                  <text>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.</text>
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                  <text>In these non-fiction works, Italians reflected upon themselves and their American experiences. Representing the non-&lt;em&gt;sovversivi&lt;/em&gt; 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. &lt;br /&gt;&lt;br /&gt;The release in 1921 of Alfredo Bosi’s &lt;em&gt;Cinquant’anni di vita italiana in America&lt;/em&gt;, 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. &lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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>
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                <text>&lt;em&gt;&lt;strong&gt;Libreria Sociale de "La Parola [del Popolo]"&lt;/strong&gt;&lt;/em&gt; [Social Bookstore of "La Parola" [newspaper]]. &lt;strong&gt;Chicago: Italian Labor Publishing Co., [n.d.].&lt;/strong&gt;</text>
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                <text>This twice-folded single sheet 8-page catalogue of books contains works sold by the Libreria Sociale attached to the newspaper &lt;em&gt;La Parola del Popolo. &lt;/em&gt;Like the Italian Labor Publishing Company that published and printed it, &lt;em&gt;La Parola&lt;/em&gt; was located at 1011 Blue Island Avenue in Chicago. Durante contains an extensive discussion of &lt;em&gt;La Parola&lt;/em&gt;, and it is listed in the Italian American Periodicals Guide of the Library of Congress. I do not find this catalogue, however, in OCLC.&lt;br /&gt;&lt;br /&gt;It is undated but post-dates 1922, when the ever-changing named &lt;em&gt;La Parola&lt;/em&gt; assumed the name of "La Parola del Popolo." See in the Collection: &lt;em&gt;La parola del popolo: rivista bimestrale:  Cinquantesimo (50) Anniversario 1908-1958&lt;/em&gt;, published in Chicago in 1958 by&lt;em&gt;&lt;/em&gt; what had become "La Parola del Popolo Publishing Association."&lt;br /&gt;&lt;br /&gt;The Social Bookstore probably served a similar purpose as the Libreria Sociologica of Paterson, New Jersey, a gathering place for intellectuals, especially anarchists, to choose from among a vast array of publications, by literary as well as radical Italians and non-Italians. A university education could be add by reading what was for sale there.&lt;br /&gt;&lt;br /&gt;So, in the case of the instant catalogue, among the authors whose works were for sale were many literary Italians, such as Carducci, Rapisardi, Ariosto and of course Dante, but also French and Russian writers like Emile Zola and Leo Tolstoy, as well as radical Italians writing and working in the U.S. such as Giuseppe Bertelli, Pietro Gori, Vincenzo Vacirca, Luigi Fabbri, Alberico Molinari and others. There were many radical or philosophical non-Italian writers- French, German and Russian - whose works were available in translation, such as Engels, as well as Marx &amp;amp; Engels, Gorki, Faure, Lenin and Kant, among others.</text>
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                <text>&lt;p&gt;Gold O’Bay was one of several pseudonyms used by Tintino Rasi (b. Genoa, 1893; d. Philadelphia, 1963). &lt;br /&gt;&lt;br /&gt;Rasi was an anarchist at an early age in Genoa, where he was under constant surveillance by the police for his political activities. In 1921, along with Renzo Novatore, whose work is also in the Collection, he edited the anarcho-individualist and futurist journal &lt;em&gt;Vertice&lt;/em&gt;. During the 1930s, he wrote for the publisher &lt;em&gt;L’Adunata &lt;/em&gt;&lt;em&gt;dei Refrattari &lt;/em&gt;in Newark. in 1938, he settled in Philadelphia, and collaborated with Virgilio Gozzoli in New York in anti-fascist activities.&lt;/p&gt;
&lt;p&gt;These are the first three journals in a series covering social issues. The first pamphlet introduces itself as the first series of journals or notebooks, &lt;em&gt;quaderni&lt;/em&gt;, as “&lt;em&gt;Quaderni sui problemi sociali&lt;/em&gt;”  (Notebook  of  Social  issues),  and states that each will address a separate social issue of “our time.” Each volume promotes the Galleanisti anarchist newspaper that published this pamphlet on the rear cover.&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;L'Adunata dei Refrattari&lt;/strong&gt;&lt;/em&gt; [The Call of the "Refractaries"]. &lt;strong&gt;New York, 1945-1961.&lt;/strong&gt;</text>
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                <text>The collection includes:&lt;br /&gt;&lt;br /&gt;&lt;em&gt;L'Adunata dei Refrattari, &lt;/em&gt;Volume XXIV, Numero 7 - February 17, 1945&lt;br /&gt;&lt;em&gt;L'Adunata dei Refrattari,&lt;/em&gt; Volume XL, Number 8 - February 25, 1961.&lt;br /&gt;&lt;br /&gt;&lt;em&gt;L'Adunata&lt;/em&gt; was the "reborn" version of the &lt;em&gt;Cronaca Sovversiva&lt;/em&gt; of Luigi Galleani (circulation between 3,200 and 5,000 between 1912 and 1918, according to Avrich  1991, 50 and Pernicone, Cannistraro &amp;amp; Meyer 2003, 81), which ceased publication when its founding editor and inspiration was deported from the United States to Italy in 1919. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;L'Adunata&lt;/em&gt; was begun and run by Galleani's followers in the U.S. after Galleani’s deportation in 1919, and edited by Raffaele Schiavina, who wrote and published under the name "Max Sartin," q.v. several works of his in the Collection. Its circulation between 1922 and 1939 was reportedly 5,000 (Paul Berman, "The Torch and the Axe: The Unknown Aftermath of the Sacco-Vanzetti Affair." &lt;em&gt;The Village Voice&lt;/em&gt;, 17 May 1988)&lt;br /&gt;&lt;br /&gt;The publishing arm of &lt;em&gt;L'Adunata&lt;/em&gt; - the &lt;em&gt;Biblioteca de l'Adunata dei Refrattari&lt;/em&gt; - released many full-length works (typically, collections of shorter pieces), like those in the Collection, q.v., as well as pamphlets, sometimes without Galleani’s authorization, due to his being unreachable in exile on the island of Lipari. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;L’Adunata&lt;/em&gt; 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 &lt;em&gt;Organizzazione e anarchia&lt;/em&gt;, 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 &lt;em&gt;La fine dell’anarchismo?&lt;/em&gt;, published in the United States (Newark) in 1925.</text>
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                  <text>&lt;em&gt;Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals&lt;/em&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Razzismo e Anarchismo&lt;/strong&gt;&lt;/em&gt;</text>
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                  <text>&lt;em&gt;Political subversives I: The bibliographic travels of Luigi Galleani and Armando Borghi&lt;/em&gt;</text>
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                  <text>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.</text>
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                  <text>&lt;em&gt;Luigi Galleani&lt;/em&gt; &lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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, &lt;em&gt;La Questione Sociale&lt;/em&gt;. &lt;span style="font-weight:400;"&gt;Then, after starting the newspaper &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Cronaca Sovversiva &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;[Subversive Chronicle] &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt; &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;in 1903, he moved to Lynn, Mass. (see his &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Madri d’Italia&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;, under the pseudonym Mentana), until the postmaster in Lynn refused to mail &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Cronaca Sovversiva&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt; and his books, at which time he repaired to Barre, Vermont (see his &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Verso il comunismo&lt;/span&gt;&lt;/i&gt;, among other examples of publications from that venue). &lt;br /&gt;&lt;br /&gt;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 &lt;em&gt;Faccia a faccia col nemico&lt;/em&gt;) 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!]). &lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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. &lt;em&gt;L’Adunata dei Refrattari&lt;/em&gt; (The Gathering of the Recalcitrants) became the successor newspaper to &lt;em&gt;La Cronaca Sovversiva&lt;/em&gt; 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. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;L’Adunata&lt;/em&gt; 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 &lt;em&gt;Organizzazione e anarchia&lt;/em&gt;, 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 &lt;em&gt;La fine dell’anarchismo?&lt;/em&gt;, published in the United States (Newark) in 1925. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;Armando Borghi&lt;/em&gt;&lt;br /&gt;&lt;br /&gt;Armando Borghi’s unflattering biography of Mussolini (&lt;em&gt;Mussolini in camicia&lt;/em&gt;) 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. &lt;br /&gt;&lt;br /&gt;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 &lt;em&gt;Mussolini in camicia&lt;/em&gt; 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). &lt;br /&gt;&lt;br /&gt;&lt;em&gt;Mussolini in camicia&lt;/em&gt; 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). &lt;br /&gt;&lt;br /&gt;However, Carlo Tresca, director of &lt;em&gt;Il Martello&lt;/em&gt;, 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 &lt;em&gt;L’Adunata dei Refrattari&lt;/em&gt;, a move that he eventually came to regret. Like the Galleanisti, Borghi attacked Tresca not only on ideological grounds but also on personal ones.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Mussolini in camicia&lt;span&gt; &lt;/span&gt;&lt;/strong&gt;&lt;/em&gt;&lt;span&gt;[Mussolini in a Nightshirt]&lt;/span&gt;&lt;strong&gt;.&lt;span&gt; &lt;/span&gt;&lt;/strong&gt;&lt;strong&gt;Bologna: &lt;span&gt;Mammolo Zamboni, 1947.&lt;/span&gt;&lt;/strong&gt;</text>
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                <text>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.&lt;br /&gt;&lt;br /&gt;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.</text>
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                <text>Armando Borghi</text>
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                <text>&lt;em&gt;&lt;strong&gt;Umanità Nova: periodico libertario, &lt;/strong&gt;&lt;/em&gt;&lt;strong&gt;Anno II, No. 10. Brooklyn, 1 Maggio [May] 1925.&lt;/strong&gt;</text>
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                <text>&lt;a href="https://italianamericanimprints.omeka.net/items/show/461"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno II, No. 5 - 7 Febbraio [February] 1925&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/462"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno II, No. 7 - 21 Febbraio [February] 1925&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/463"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno II, No. 8 - 7 Marzo [March] 1925&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/464"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno II, No. 9 - 28 Marzo [March] 1925&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="Umanit%C3%A0%20Nova,%20Anno%202,%20No.%208%20-%207%20Marzo%20%5BMarch%5D%201925%20Umanit%C3%A0%20Nova" title="https://italianamericanimprints.omeka.net/items/show/460"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt; [main entry]&lt;/a&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/464"&gt;&lt;em&gt;&lt;/em&gt;&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/465"&gt;&lt;/a&gt;</text>
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                <text>See main entry (for all five issues) for a description of this "libertarian" anarchist newspaper, shut down by the fascists in Milan in 1922, when edited from Rome by Malatesta, according to Enrico Arrigoni, as quoted in Avrich, and then reborn in Brooklyn, somewhat like &lt;em&gt;L'Asino&lt;/em&gt;, q.v.&lt;br /&gt;&lt;br /&gt;Note that the banner and top headline of this May Day issue, uniquely, was published in red ink. In the Collection's two-year run of &lt;em&gt;Il Proletario&lt;/em&gt;, similarly, the banner and the extraordinary cover illustration of the May Day 1923 issue was printed in red ink, q.v.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Umanità Nova: periodico libertario, &lt;/strong&gt;&lt;/em&gt;&lt;strong&gt;Anno II, No. 9. Brooklyn, 28 Marzo [March] 1925.&lt;/strong&gt;</text>
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                <text>&lt;a href="https://italianamericanimprints.omeka.net/items/show/461"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno II, No. 5 - 7 Febbraio [February] 1925&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/462"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno II, No. 7 - 21 Febbraio [February] 1925&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/463"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno II, No. 8 - 7 Marzo [March] 1925&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/465"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno II, No. 10 -1 Maggio [May] 1925&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="Umanit%C3%A0%20Nova,%20Anno%202,%20No.%208%20-%207%20Marzo%20%5BMarch%5D%201925%20Umanit%C3%A0%20Nova" title="https://italianamericanimprints.omeka.net/items/show/460"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt; [main entry]&lt;/a&gt;</text>
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                <text>See main entry for a description of this anarchist and libertarian journal, first published in Milan, though Errico Malatesta edited it from Rome, according to Enrico Arrigoni, from an interview by Paul Avrich, and then, when the fascists shut it down in 1922, published in Brooklyn.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Umanità Nova: periodico libertario, &lt;/strong&gt;&lt;/em&gt;&lt;strong&gt;Anno II, No. 7. Brooklyn, 21 Febbraio [February] 1925.&lt;/strong&gt;</text>
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                <text>&lt;a href="https://italianamericanimprints.omeka.net/items/show/461"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno 2, No. 5 - 7 Febbraio [February] 1925&lt;/a&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/462"&gt;&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/463"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno 2, No. 8 - 7 Marzo [March] 1925&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/464"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno 2, No. 9 - 28 Marzo [March] 1925&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/465"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno 2, No. 10 -1 Maggio [May] 1925&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/460"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt; [main entry]&lt;/a&gt;</text>
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                <text>See description and history of this newspaper in the general entry for February - May 1925.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Umanità Nova: periodico libertario, &lt;/strong&gt;&lt;/em&gt;&lt;strong&gt;Anno II, No. 5. Brooklyn, 7 Febbraio [February] 1925.&lt;/strong&gt;</text>
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                <text>&lt;a href="https://italianamericanimprints.omeka.net/items/show/462"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno II, No. 7 - 21 Febbraio [February] 1925&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/463"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno II, No. 8 - 7 Marzo [March] 1925&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/464"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno II, No. 9 - 28 Marzo [March] 1925&lt;/a&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/465"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt;, Anno II, No. 10 -1 Maggio [May] 1925&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/460"&gt;&lt;em&gt;Umanità Nova&lt;/em&gt; [main entry]&lt;/a&gt;</text>
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                <text>7 Febbraio [February] 1925</text>
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                <text>See description and history of this newspaper in the general entry for February - May 1925.</text>
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                  <text>&lt;em&gt;Political subversives I: The bibliographic travels of Luigi Galleani and Armando Borghi&lt;/em&gt;</text>
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                  <text>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.</text>
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                  <text>&lt;em&gt;Luigi Galleani&lt;/em&gt; &lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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, &lt;em&gt;La Questione Sociale&lt;/em&gt;. &lt;span style="font-weight:400;"&gt;Then, after starting the newspaper &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Cronaca Sovversiva &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;[Subversive Chronicle] &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt; &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;in 1903, he moved to Lynn, Mass. (see his &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Madri d’Italia&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;, under the pseudonym Mentana), until the postmaster in Lynn refused to mail &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Cronaca Sovversiva&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt; and his books, at which time he repaired to Barre, Vermont (see his &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Verso il comunismo&lt;/span&gt;&lt;/i&gt;, among other examples of publications from that venue). &lt;br /&gt;&lt;br /&gt;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 &lt;em&gt;Faccia a faccia col nemico&lt;/em&gt;) 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!]). &lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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. &lt;em&gt;L’Adunata dei Refrattari&lt;/em&gt; (The Gathering of the Recalcitrants) became the successor newspaper to &lt;em&gt;La Cronaca Sovversiva&lt;/em&gt; 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. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;L’Adunata&lt;/em&gt; 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 &lt;em&gt;Organizzazione e anarchia&lt;/em&gt;, 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 &lt;em&gt;La fine dell’anarchismo?&lt;/em&gt;, published in the United States (Newark) in 1925. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;Armando Borghi&lt;/em&gt;&lt;br /&gt;&lt;br /&gt;Armando Borghi’s unflattering biography of Mussolini (&lt;em&gt;Mussolini in camicia&lt;/em&gt;) 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. &lt;br /&gt;&lt;br /&gt;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 &lt;em&gt;Mussolini in camicia&lt;/em&gt; 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). &lt;br /&gt;&lt;br /&gt;&lt;em&gt;Mussolini in camicia&lt;/em&gt; 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). &lt;br /&gt;&lt;br /&gt;However, Carlo Tresca, director of &lt;em&gt;Il Martello&lt;/em&gt;, 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 &lt;em&gt;L’Adunata dei Refrattari&lt;/em&gt;, a move that he eventually came to regret. Like the Galleanisti, Borghi attacked Tresca not only on ideological grounds but also on personal ones.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Mussolini in zijn hemd &lt;/strong&gt;&lt;/em&gt;[Mussolini in a Nightshirt]&lt;strong&gt;. Amsterdam: N.V. De Arbeiderspers, [1933].&lt;/strong&gt;</text>
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                <text>&lt;p&gt;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 &lt;em&gt;Mussolini in camicia&lt;/em&gt;.&lt;br /&gt;&lt;br /&gt;This is the Dutch translation of that work: s&lt;span style="font-weight:400;"&gt;hortly after arriving in America in the wake of Mussolini's repression of the press, Borghi in 1927 published &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Mussolini in camicia &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;in Italian in the only safe place to do so at the time, New York. &lt;br /&gt;&lt;br /&gt;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). &lt;br /&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;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.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;&lt;strong&gt;&lt;em&gt;L'Asino: è il popolo, utile, paziente e bastonato &lt;/em&gt;&lt;/strong&gt;[The Donkey: is, [like] the people, useful, patient and beaten]&lt;strong&gt;, Anno 2, No. 48. New York: Asino Publishing Co., 28 November 1909.&lt;/strong&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;Italian imprint:&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/412"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 2 - 8 Gennaio [January] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/413"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 3 - 15 Gennaio [January] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/414"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 6 - 5 Febbraio [February] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/415"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 7 - 12 Febbraio [February] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/416"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 8 - 19 Febbraio [February] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/417"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 11 - 12 Marzo [March] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/418"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 12 - 19 Marzo [March] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/419"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 14 - 2 Aprile [April] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/420"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 18 - 30 Aprile [April] 1905&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/411"&gt;&lt;em&gt;L'Asino&lt;/em&gt; [main entry]&lt;/a&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;&lt;span style="font-weight:400;"&gt;This 1909 issue is the only issue of &lt;em&gt;L'Asino&lt;/em&gt; in the collection that was actually published in (as opposed to being distributed in) New York. &lt;br /&gt;&lt;br /&gt;To see the difference between the two: note "New York" and the date of publication in small type above the masthead on the cover or first page, as well as "Edizione d'America" to the right of that. Note also the periodical states (in both types)  below the masthead in virtually the same language "Entered at the Post Office at New York as Second Class mail matter," but  - unlike the Rome-published issues - gives "subscription rates" in U.S. dollars (as well as the annual subscription rate for Canada). Unlike the Rome-based publication, however, it states "Published weekly by the ASINO PUBLISHING CO. | direzione ed amministrazione | 548 West Broadway . . . New York." &lt;br /&gt;&lt;br /&gt;Note that this is the same address as Vanni's book store that had been the U.S. distributor of &lt;em&gt;L'Asino&lt;/em&gt; for years, as is evident from a review of the Rome-based issues that make up all but one of the issues in the collection.&lt;br /&gt;&lt;br /&gt;As discussed in the general entry on this periodical, started in Rome by Guido Podrecca (who about 25 years later turned to fascism) and Gabriele Galantara (1865–1937, who under the&lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt; nom d’artiste&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;, Rata Langa, was the principal cartoonist of the magazine), &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;L’Asino&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt; was best known for its virulent anti-clerical expression and colorful political illustrations. &lt;br /&gt;&lt;br /&gt;Claiming a circulation of about 100,000, the magazine won international admiration in the early 20th century. &lt;br /&gt;&lt;br /&gt;It was widely distributed among Italians in the United States by Vanni, then of 548 West Broadway in Manhattan, and which only in the last few years shut down its West 12th Street operation following the death of the last of the two Ragusa sisters who ran it. &lt;br /&gt;&lt;br /&gt;Not surprisingly, given its popularity, the magazine earned the hatred of the Church, as the observation of one priest visiting an Italian community in Ybor City, Florida in 1905, suggests. He informed his superiors that Italians there were largely indifferent to religion, as “every week about 70 copies of the most infidel, anarchical and lascivious paper published in Italy are distributed among them.” &lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;In 1908, a papal nuncio in Washington took action that led to denial of entry of &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;L’Asino &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;into the U.S., on the grounds that it contained pornographic material, at the same time that police raided Vanni’s and arrested the owner. &lt;br /&gt;&lt;br /&gt;Note that this U.S.-based &lt;em&gt;L'Asino&lt;/em&gt; still contains Rata Langa’s vivid cartoons and caricatures in an issue denominated "Anno II", presumably of the new series (note four years earlier, in Rome&lt;em&gt;, L'Asino&lt;/em&gt; was up to Anno XIV). This issue came out soon after the papal nuncio of 1908 shut down importation of issues from Rome, and start of a new series in the U.S.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight:400;"&gt;This New York-based &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;L’Asino&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt; appears still largely to have been composed in Italy - where I believe it continued to appear - even after printing (and the nominally publishing) of issues destined for the U.S. market shifted to the U.S.  But the advertisers were New York and other U.S. businesses, rather than the Roman businesses of the original publication in Rome. &lt;br /&gt;&lt;br /&gt;So, for example, this issue &lt;/span&gt;&lt;span style="font-weight:400;"&gt;contains an advertisement for Nicoletti Bros. publishers of New  York, several of whose publications are in the Collection, as well as an English-Italian dictionary (&lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Il Millhouse&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;, which refers to the 1600-page, two-volume &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;New English and Italian Dictionary&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;, a popular Italian-English dictionary compiled by John Millhouse and originally published in New York in 1849 by D. Appleton &amp;amp; Co. See another, later work of Millhouse in the collection, also published by Appleton). &lt;br /&gt;&lt;br /&gt;It is somewhat amusing that this issue of &lt;em&gt;L'Asino&lt;/em&gt; also contains an ad of A. De Martino at his own “Complete Bookstore,” two years prior to the first imprint of the company he would later be a director of, the Società Libraria Italiana produced on Mulberry Street. Not too many years later,  De Martino showed his pro-Fascist Party leanings - see, e.g., the discussion of the preface of &lt;em&gt;John Hus the Veracious&lt;/em&gt;, the rare English-language publication of the Società Libraria Italiana. That political position would have made advertising in the anarchist &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;L’Asino &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;unthinkable.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight:400;"&gt;It was not until 1925 that publication of &lt;em&gt;L'Asino&lt;/em&gt; was permanently closed down, the Fascist Party succeeding then in doing what the Church had been unable to do in 1908.&lt;br /&gt;&lt;br /&gt;A final, sad note: Vanni's closed in or about 2015, when the second of the two Ragusa sisters died. A friend and colleague of mine at the Grolier Club who had befriended the two sisters when they were alive attempted to buy the stock of the store. He was aware of the importance of L'Asino, and believed that years of unsold issues of both the New York and Roman editions were gathering dust at the shop. He was unable to get the attention of the estate's executors and suspects that the remaining stock of &lt;em&gt;L'Asino&lt;/em&gt; (and other publications) were probably discarded.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;strong&gt;&lt;em&gt;L'Asino: è il popolo, utile, paziente e bastonato &lt;/em&gt;&lt;/strong&gt;[The Donkey: [like] &lt;span style="font-weight:400;"&gt;the people [is] useful, patient and beaten&lt;/span&gt;]&lt;strong&gt;,&lt;/strong&gt; &lt;strong&gt;Anno 14, No. 18. Roma, 30 Aprile [April] 1905.&lt;/strong&gt;</text>
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                <text>&lt;p&gt;Italian imprint:&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/412"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 2 - 8 Gennaio [January] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/413"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 3 - 15 Gennaio [January] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/414"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 6 - 5 Febbraio [February] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/415"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 7 - 12 Febbraio [February] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/416"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 8 - 19 Febbraio [February] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/417"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 11 - 12 Marzo [March] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/418"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 12 - 19 Marzo [March] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/419"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 14 - 2 Aprile [April] 1905&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;American imprint:&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/421"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 2, No. 48 - 28 November 1909&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/411"&gt;&lt;em&gt;L'Asino&lt;/em&gt; [main entry]&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/421"&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                <text>&lt;strong&gt;&lt;em&gt;L'Asino: è il popolo, utile, paziente e bastonato &lt;/em&gt;&lt;/strong&gt;[The Donkey: is, [like] the people, useful, patient and beaten]&lt;strong&gt;, Anno 14, No. 8. Roma, 19 Febbraio [February] 1905.&lt;/strong&gt;</text>
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                <text>&lt;p&gt;Italian imprint:&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/412"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 2 - 8 Gennaio [January] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/413"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 3 - 15 Gennaio [January] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/414"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 6 - 5 Febbraio [February] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/415"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 7 - 12 Febbraio [February] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/417"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 11 - 12 Marzo [March] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/418"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 12 - 19 Marzo [March] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/419"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 14 - 2 Aprile [April] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/420"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 18 - 30 Aprile [April] 1905&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;U.S. imprint:&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/421"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 2, No. 48 - 28 November 1909&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/411"&gt;&lt;em&gt;L'Asino&lt;/em&gt; [main entry]&lt;/a&gt;&lt;/p&gt;</text>
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                <text>For a full account of &lt;em&gt;L'Asino&lt;/em&gt; as published in Rome, see general entry for the magazine from January 1905 - November 1905.&lt;br /&gt;&lt;br /&gt;&lt;span style="font-weight:400;"&gt;As with all issues of &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;L’Asino, &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;this one features bright, full-color front and rear cover (and interior black-and-white) political and anti-clerical cartoons. &lt;br /&gt;&lt;br /&gt;The motto of the newspaper, carried on the masthead, &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;L’Asino è il popolo, utile, paziente e bastonato, &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;reflect the magazine’s premise that like the donkey, “the people [are] useful, patient and beaten."&lt;/span&gt;</text>
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                <text>&lt;p&gt;&lt;strong&gt;&lt;em&gt;L'Asino: è il popolo, utile, paziente e bastonato&lt;/em&gt;&lt;/strong&gt; [The Donkey: is, [like] the people, useful, patient and beaten]&lt;strong&gt;&lt;em&gt;, &lt;/em&gt;Anno 14, No. 7. Roma, 12 Febbraio [February] 1905.&lt;/strong&gt;&lt;/p&gt;</text>
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                <text>&lt;strong&gt;&lt;em&gt;L'Asino: è il popolo, utile, paziente e bastonato &lt;/em&gt;&lt;/strong&gt;[The Donkey: is, [like] the people, useful, patient and beaten], &lt;strong&gt;Anno 14, No. 3. Roma, 15 Gennaio [January] 1905.&lt;/strong&gt;</text>
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                <text>For a full account of &lt;em&gt;L'Asino&lt;/em&gt; as published in Rome, see general entry for the magazine from January 1905 - November 1905.&lt;br /&gt;&lt;br /&gt;&lt;span style="font-weight:400;"&gt;As with all issues of &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;L’Asino, &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;this one features bright, full-color front and rear cover (and interior black-and-white) political and anti-clerical cartoons. &lt;br /&gt;&lt;br /&gt;The motto of the newspaper, carried on the masthead, &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;L’Asino è il popolo, utile, paziente e bastonato, &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;reflect the magazine’s premise that like the donkey, “the people [are] useful, patient and beaten.”&lt;/span&gt;</text>
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                <text>&lt;strong&gt;&lt;em&gt;L'Asino: è il popolo, utile, paziente e bastonato &lt;/em&gt;&lt;/strong&gt;[The Donkey: is, [like] the people, useful, patient and beaten]&lt;strong&gt;, Anno 14, No. 2. Roma: L'Asino,  8 Gennaio [January] 1905.&lt;/strong&gt;</text>
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                  <text>Periodicals: newspapers and magazines</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;strong&gt;&lt;em&gt;L'Asino: è il popolo, utile, paziente e bastonato&lt;/em&gt;&lt;/strong&gt; [The Donkey: is, [like] the people, useful, patient and beaten].&lt;strong&gt; Roma and New York, 8 Gennaio [January] 1905 - 28 Novembre [November] 1909.&lt;br /&gt;&lt;/strong&gt;</text>
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                <text>&lt;p&gt;The collection includes:&lt;br /&gt;&lt;br /&gt;Italian imprint:&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/412"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 2 - 8 Gennaio [January] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/413"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 3 - 15 Gennaio [January] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/414"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 6 - 5 Febbraio [February] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/415"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 7 - 12 Febbraio [February] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/416"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 8 - 19 Febbraio [February] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/417"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 11 - 12 Marzo [March] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/418"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 12 - 19 Marzo [March] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/419"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 14 - 2 Aprile [April] 1905&lt;/a&gt; &lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/420"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 14, No. 18 - 30 Aprile [April] 1905&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;U.S. imprint:&lt;br /&gt;&lt;a href="https://italianamericanimprints.omeka.net/items/show/421"&gt;&lt;em&gt;L'Asino&lt;/em&gt;, Anno 2, No. 48 - 28 November 1909&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;There are nine issues of the Italian imprint of this important illustrated review (1892–1925) in the collection, all in Year 14 of its publication in Italy, in 1905.&lt;br /&gt;&lt;br /&gt;The motto of the newspaper, carried on the masthead, &lt;i&gt;L’Asino è il popolo, utile, paziente e bastonato, &lt;/i&gt;reflect the magazine’s premise that like the donkey, “the people [are] hardworking, patient and mistreated.”&lt;br /&gt;&lt;br /&gt;The Italian imprints are in the collection because they were so widely distributed in the U.S. among the Italians here by an Italian bookstore that only recently finally closed down, in the West Village, S. F. Vanni, then of 548 West Broadway in Manhattan.&lt;br /&gt;&lt;br /&gt;You can see this on the cover of all the Rome-published issues in the collection: in addition to noting (above the L'ASINO masthead) that it was published in Rome, along with the date and number (and year) of the issue, below the masthead is the following: "Entered at the Post Office at New-York as second-class matter" and "Deposito dell'ASINO per gli Stati Uniti d'America presso S.F Vanni 548 Broadway New York," this latter description meaning "Warehousing [for distribution] of L'Asino for the U.S. at S.F. Vanni [address]."&lt;br /&gt;&lt;br /&gt;For the full story on the similarities and differences of the New York-based publication of &lt;em&gt;L'Asino&lt;/em&gt;, please see the entry for Anno II, no. 48, dated 28 November 1909.&lt;br /&gt;&lt;br /&gt;Started in Rome by Guido Podrecca (who about 25 years later turned to fascism) and Gabriele Galantara (1865–1937, who under the&lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt; nom d’artiste&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;, Rata Langa, was the principal cartoonist of the magazine), &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;L’Asino&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt; (The Donkey) was best known for its virulent anti-clerical expression and colorful political illustrations.&lt;br /&gt;&lt;br /&gt;Claiming a circulation of about 100,000, the magazine won international admiration in the early 20th century.  &lt;br /&gt;&lt;br /&gt;Not surprisingly, given its popularity, the magazine earned the hatred of the Church, as the observation of one priest visiting an Italian community in Ybor City, Florida in 1905, suggests. He informed his superiors that Italians there were largely indifferent to religion, as “every week about 70 copies of the most infidel, anarchical and lascivious paper published in Italy are distributed among them,” nothing but &lt;em&gt;L'Asino&lt;/em&gt; fitting that description! &lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;In 1908, a papal nuncio in Washington took action that led to denial of entry of &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;L’Asino &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;as published in Italy &lt;/span&gt;&lt;span style="font-weight:400;"&gt;into the U.S., on the grounds that it contained pornographic material, at the same time that police raided Vanni’s and arrested the owner. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;L’Asino&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt; was&lt;/span&gt;&lt;span style="font-weight:400;"&gt; still largely composed in Italy even after publication in the U.S. began. The Fascist Party permanently closed &lt;em&gt;L'Asino&lt;/em&gt; down in 1925 - something that the Church had been unable to do years before.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>8 Gennaio [January] 1905 - 28 Novembre [November] 1909</text>
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                <text>Italian</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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      <name>Text</name>
      <description>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.</description>
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                <text>&lt;strong&gt;&lt;em&gt;Il lavoro attraente&lt;/em&gt;&lt;/strong&gt; [Attractive Work]. &lt;strong&gt;Ginevra: Carlo Frigerio, Ed., 1938.&lt;/strong&gt;</text>
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                <text>This is an edited version of an essay which had appeared first in the U.S., in the Italian-American anarchist paper &lt;em&gt;L'Adunata dei Refrattari&lt;/em&gt;, edited by "Max Sartin" (Raffaele Schiavina) after he secretly returned to the U.S. following his deportation in 1919, along with that of Luigi Galleani and others. The American publication was part of the Biblioteca di Coltura Libertaria; No. 1, Gennaio-Febbraio 1938.&lt;br /&gt;&lt;br /&gt;The reprint in Geneva of an essay originally published in the U.S. is another example of the international nature of the anarchist and socialist movements. Besides Switzerland and the U.S., Berneri was widely published in France and Italy.&lt;br /&gt;&lt;br /&gt;Berneri, an Italian professor of philosophy, and along with Errico Malatesta, Armando Borghi, a leading writer for &lt;em&gt;Umanità Nova, &lt;/em&gt;was an anarchist theorist and propagandist who organized anti-fascist brigadiers in Spain, q.v. &lt;em&gt;Berneri in Ispagna&lt;/em&gt; in the collection. He was assassinated by Stalinists while in Barcelona in 1937. &lt;br /&gt;&lt;br /&gt;Unlike the case with Borghi, Galleani or Malatesta, despite his writing for American Italian publications, there is no evidence of Berneri ever setting foot in the U.S.</text>
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                <text>Camillo Berneri</text>
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                <text>Il lavoro attraente [Attractive Work]. Geneva: Carlo Frigerio, Ed.</text>
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                <text>1938</text>
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                <text>Italian</text>
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