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                  <text>&lt;em&gt;Learning the languages: For Americans and Italians&lt;/em&gt;</text>
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                  <text>Grammars and dictionaries - at first, imported from Italy, ones teaching English to native Italian speakers - were later supplemented by "home-grown" (that is, made in America) grammars especially designed for Italian immigrants, not like the grammars of decades before, designed for Italians in Italy wanting to learn English. </text>
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                  <text>The “languages” here are, of course, both English and Italian. In ways that I could not begin to perceive when I started collecting works in Italian, it was by no means a one-way street - that is, with Italian immigrants just wanting to learn English, with Italian as the vehicle to ease their way into learning English. Indeed, the two efforts are intimately related. &#13;
&#13;
First comes the “pre-history” to the world of the late 19th/early 20th century immigrants to New York and elsewhere in the U.S., namely, a period earlier in the 19th century, when Americans wanted to learn Italian, whether in colleges or with private lessons. This effort starts with Lorenzo Da Ponte, who came to the United States in 1805, and whose impact in those years cannot be overstated.&#13;
&#13;
Beginning with Da Ponte in the early 19th century, and continuing throughout the century, Italians delighted in teaching Americans how to read, speak and write in Italian. This collection of poetry was gathered mostly as teaching material – grammars, readers and dictionaries – that were in widespread use in the United States, primarily in the Northeast. Da Ponte wrote and published simple dramas for his private students and for those at Columbia College, where he became its first professor of Italian in 1825.  Da Ponte and his brother Carlo maintained a bookstore as well.  They shipped such publications throughout the United States wherever Italian was taught. Italian exiles in mid-century taught Italian to Americans eager to learn the language.&#13;
&#13;
Much later, in the late 19th century, Augusto Bassetti, Angelo De Gaudenzi and Francesco Zanolini, developed their own grammars, dictionaries and readers specifically designed to teach English to Italian immigrants. But the goal was also stated to be (particularly in Bassetti’s case) to help Italians simultaneously improve their knowledge of standard Italian, and thus enable them to read the Italian-language newspapers and even more the book-length publications that would soon come rolling out of print shops in New York and San Francisco. &#13;
&#13;
In the early 20th century, Alfonso Arbib-Costa published a series of “lezione” books designed to help Italian natives to learn English, as well as English-speakers to learn Italian. Perhaps even more significantly, Arbib-Costa’s lesson books, and those of Alberto Pecorino, helped Italian immigrants who brought to America largely an oral language, more typically dialect than standard Italian, learn how to read standard Italian.  This development created and sustained a class of readers for the newspapers and magazines, and ultimately, the critical mass necessary for the development of a literary culture.&#13;
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                <text>&lt;strong&gt;&lt;em&gt;Grammatica Italiana per le scuole italiane all'estero; illustrazioni di testi&lt;/em&gt; &lt;/strong&gt;[Italian Grammar [illustrated, {fascist} Year XV]: for Italian schools abroad]. &lt;strong&gt;Roma: Direzione Generale Italiani all'estero, 1937 - XV.&lt;/strong&gt;</text>
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                <text>This is a good example of a textbook developed as part of the effort by the fascist government to encourage Italian language acquisition by Italians &lt;em&gt;fuori Italia&lt;/em&gt;, outside of Italy: note the government publisher, as well as "Anno [year] XV" of the fascist regime emblazoned proudly on the cover, while only the title page prints the year 1937 as well as fascist year XV. &lt;br /&gt;&lt;br /&gt;The textbook is quite elegant in its own way, beginning with the gentle observation that of all the animals, most of which bark or meow, "solamente l'uomo possiede la preziosa facoltà di esprimere i suoi pensieri per mezzo della parola [only man possesses the precious faculty of expressing his thoughts by means of the word]." One wonders if this was the best approach for emigrants from Italy to the American "colony" to learn the mother tongue. The work is notably not crammed with text, but with an almost lavish use of drawings taking up a significant fraction of the page. Printed in Lecco.</text>
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                  <text>&lt;em&gt;Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals&lt;/em&gt;</text>
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                <text>&lt;strong&gt;&lt;em&gt;Il mondo e le sue trasformazioni: dialoghi fra il nonno e la sua nepote&lt;/em&gt;&lt;/strong&gt; [The World and its Transformations: dialogues between a grandpa and his granddaughter]. &lt;strong&gt;New York: Libreria Rossa, 1909.&lt;/strong&gt;</text>
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                <text>&lt;span&gt;The Libreria Sociologica (Sociological Bookstore) in Paterson was both a publisher and a bookstore that stocked one of the richest and most varied assortments of inexpensive books and pamphlets for anarchists and socialists in the U.S. These include social novels and dramas, as well as political tracts such as this one, in the form of a political conversation among five fictional characters. It was founded in 1903 by noted anarchist Ninfa Baronio and her companion, silkweaver Firmino Gallo. The Collection has a half dozen or more actual publications by the Libreria Sociologica, q.v.&lt;br /&gt;&lt;br /&gt;After emigrating from Piemonte to Paterson, Baronio helped found Paterson's anarchist &lt;i&gt;Gruppo Diritto all'Esistenza&lt;/i&gt; (Right to an Existence Group); co-founded a local feminist group and performed in feminist plays; and, with Gallo, with whom she had six children, ran the Libreria Sociologica, said by historian Kenyon Zimmer to be "America's richest storehouse of extreme radical literature."&lt;br /&gt;&lt;br /&gt;The Libreria Sociologica was also a place where local anarchists gathered and bought Italian, French, and American anarchist literature, as well as Communist publications such as &lt;em&gt;The New York Communist&lt;/em&gt;, &lt;em&gt;Soviet Russia&lt;/em&gt; and &lt;em&gt;The Revolutionary Age&lt;/em&gt;&lt;i&gt;&lt;/i&gt;. In the back room, the Slovenian anarchist Franz Widmar operated his &lt;em&gt;L'Era Nuova&lt;/em&gt;&lt;i&gt;&lt;/i&gt; (New Era) press. &lt;br /&gt;&lt;br /&gt;In 1912, Firmino Gallo was arrested for displaying an anti-imperialist cartoon by Ludovico Caminita, q.v., in the bookstore window; th two of them were charged with inciting hostility against a foreign government.&lt;br /&gt;&lt;br /&gt;See Guglielmo, &lt;em&gt;Living the Revolution&lt;/em&gt; in the Bibliography for the history of Baronio, Maria Roda and other important Italian women radicals in New York in that era.&lt;br /&gt;&lt;br /&gt;Probably the greatest of anarchists both in Italy and in the U.S., Enrico Malatesta believed that while anarchists could not be syndicalists, they could use syndicalist tactics to achieve their goals, and thus could have a role in the development of the Industrial Workers of the World (see works of Faggi, De Ciampis (&lt;em&gt;Il Proletario&lt;/em&gt;), Ebert, Vincent St. John, Giuseppe Cannata, Meledandri, Buttis and others in the Collection).&lt;br /&gt;&lt;br /&gt;The literary form of this work, as the title suggests, presents a series of conversations between a bourgeois and a student filled with anarchist ideas, and others with varied political opinions. Such conversations in narrative or occasionally dramatic form were a common way of educating and influencing the working men and women whom these writers sought to reach. This kind of presentation contrasted with the more theoretical and philosophical tracts of writers like Renzo Novatore (q.v.).&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Che cosa e l'I.W.W.?: una candida dichiarazione dei suoi principii, scopi e metodi&lt;/strong&gt;&lt;/em&gt; [What is the I.W.W.? A candid declaration of its principles, scope and methods]. &lt;strong&gt;Chicago: Ed. a cura della I.W.W., 1923.&lt;/strong&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Se si farà la rivoluzione in Italia, si morrà di fame? &lt;/strong&gt;&lt;/em&gt;[Will We Die of Hunger if There's a Revolution in Italy?].&lt;strong&gt; New York: Casa ed. Libreria Rossa, [c. 1921].&lt;/strong&gt;</text>
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                <text>This work is taken from &lt;em&gt;Umanità Nova&lt;/em&gt;, a Milanese leftist newspaper that was founded in 1920, and shut down by the fascists in 1922. "Libreria Rossa" was the name adopted by Carlo Tresca for some of his book imprints, and used on Tresca's letterhead, along with &lt;em&gt;Il Martello&lt;/em&gt;, see holographic letter on stationery of Tresca in the Collection. (The term is also used more generally (lower case) for any Italian American bookstore that sold anarchist, socialist or communist works.) &lt;br /&gt;&lt;br /&gt;Leading writers for &lt;em&gt;Umanità Nova, &lt;/em&gt;which began pubication only in February, 1920, included Errico Malatesta, Armando Borghi and Camillo Bernieri, among others; several of the works of each of these writers are in the collection, q.v. When the fascist regime fell, in 1945, publication &lt;em&gt;Umanità Nova &lt;/em&gt;started up again, this time as a weekly. &lt;br /&gt;&lt;br /&gt;The newspaper continues to publish to this day. It declares itself as follows: &lt;em&gt;Umanità Nova&lt;/em&gt; presents itself weekly in a paper edition as a place for communication, meeting, intervention and reflection on facts and events of social anarchism, libertarian movements, anti-authoritarian, anti-clericalism, of the world of work and basic unionism, direct action, battles over territory, social spaces and worker management journeys.&lt;br /&gt;&lt;br /&gt;Bookseller and expert on the Italian American left, Lorne Bair refers to this work, however, as more of a Communist tract published shortly after the Russian Revolution. Indeed, the work calls for an immediate proletarian revolution, with socialization of industry and agriculture; closure of borders to prevent a flight of the bourgeoisie; and management of the new society through a free arrangement of persons and competent groups.&lt;br /&gt;&lt;br /&gt;I cannot find anything about the author who used the pseudonym Emme-  the spelling is that of the Italian letter "m" spoken aloud, as well as it being a not that unusual variant spelling of "Emma." One known person who used “Emme” as a pseudonym was anarchist Edoardo Malusardi (documented for a 1915 piece in Zurich), but there is not enough evidence to state confidently that Malusardi is the “Emme” of this piece.&lt;br /&gt;&lt;br /&gt;&lt;p&gt;&lt;/p&gt;</text>
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                  <text>&lt;em&gt;Political subversives III: Fascists and anti-fascists&lt;/em&gt;</text>
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                  <text>&lt;p&gt;The Anti-Fascist movement embraced diverse leftists, including Carlo Tresca, as noted above. Opposition to Mussolini from the left was reflected by activities of the Anti-Fascist Alliance of North America, which formed common ground for anarchists, socialists/syndicalists and communists to temporarily set aside their differences and unite against fascist oppression.  Gone, at least temporarily, were the debates about proper philosophy of the left: the goal was to unite in order to defeat fascism.&lt;br /&gt;&lt;br /&gt;As for fascism itself, its roots were in the nationalist fervor stoked by Italy’s late 19&lt;sup&gt;th&lt;/sup&gt; and early 20&lt;sup&gt;th&lt;/sup&gt; century imperialist ventures in Africa, which are reflected in several items in the collection. Fascism itself&lt;span&gt;, with its &lt;/span&gt;&lt;a href="http://en.wikipedia.org/wiki/Political_radicalism"&gt;radical&lt;/a&gt;&lt;span&gt; nationalist agenda, &lt;/span&gt;came to prominence in the first quarter of 20th-century Europe, originating in Italy during&lt;span&gt; &lt;/span&gt;&lt;a href="http://en.wikipedia.org/wiki/World_War_I"&gt;World War I&lt;/a&gt;.  Benito Mussolini founded the Fascist Party, a right-wing organization which launched a campaign of terrorism and intimidation against its leftist opponents, and forced the king in 1922 to name him the Prime Minister as a result of the fascists’ show of force in the March on Rome.  &lt;/p&gt;
&lt;p&gt;In America, active fascist supporters started two magazines that vied for primacy with Mussolini as instruments of the Fascist Party in America. Agostino de Biasi’s &lt;em&gt;Il Carroccio&lt;/em&gt;, (The Chariot) was published from 1915 until 1935 - most years of the magazine are in the collection - with a circulation of about 10,000–12,000, long-lived initially but ultimately with a circulation of only about one-third of Domenico Trombetta’s far more militant &lt;em&gt;Il Grido della Stirpe&lt;/em&gt; (The Cry of the Race), which became the largest circulation pro-fascist periodical at about 30,000 at its height in the mid-late 1920s, dropping to about 5,000 in the late 1930s as Italian Americans soured on Mussolini.&lt;/p&gt;
&lt;p&gt;Mussolini also promoted teaching the Italian language to Italian American schoolchildren, reflected in several items in the collection.&lt;/p&gt;
&lt;p&gt;Both fascist and therefore anti-fascist activities were not confined to New York, Chicago and other big cities. By the early 1920s, Fascist Party cells in the United States were present in Buffalo, Albany, Rochester and Syracuse.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;</text>
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                  <text>This section of the collection reflects tensions between fascists and anti-fascists. But the anti-fascist movement in the U.S. among Italians and others had far less to fear from Mussolini than did such dissidents in Italy itself. Savage portrayals and caricatures of Mussolini and of fascism are fully reflected in the collection.</text>
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                <text>&lt;strong&gt;&lt;em&gt;Per un governo di pace e di liberta in Italia!  &lt;/em&gt;&lt;/strong&gt;[For a Government of Peace and Liberty in Italy!]&lt;strong&gt; [New York]: L'Unità del Popolo, 1942.&lt;/strong&gt;</text>
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                <text>"Appeal of the Italian National Front at the Underground Conference in Milan, December, 1942." &lt;em&gt;L'Unità del Popolo&lt;/em&gt; was the Italian-language newspaper of the Communist Party U.S.A.</text>
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                  <text>&lt;em&gt;Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals&lt;/em&gt;</text>
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                <text>&lt;strong&gt;&lt;em&gt;Argomenti libertari (pagine di propaganda antiparlamentare) &lt;/em&gt;&lt;/strong&gt;[Libertarian Arguments (pages of anti-Parliamentarian propaganda)].&lt;strong&gt; Milano: Libreria Editrice Sociale, 1911.&lt;/strong&gt;</text>
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                <text>Stamp on front: "Libreria ed. ELVIRA CATELLO 1946 First Avenue, New York City|Manifattura di Calendari Artistici e Cartoline Illustrate| Catalogo a Richiesta [manufacturer of artistic calendars and illustrated postcards | catalogue on request]"; Printed in Milano, tipografia E. Zerboni, via Fiamma 7.&lt;br /&gt;&lt;br /&gt;Concordia (b. 1877 (&lt;span&gt;Asigliano Vercellese, Vercelli, Piemonte) &lt;/span&gt;- d. 1942?) was a dedicated anarchist, imprisoned several times in Italy for articles in &lt;em&gt;L'Agitatore&lt;/em&gt; and similar publications that incited "class hatred." He slipped in and out of Italy, often using pseudonyms, but there is no evidence that he joined any of his many fellow anarchists in the U.S.&lt;br /&gt;&lt;br /&gt;The collection has several Elvira Catello publications, i.e., U.S. imprints, but her bookstore imported many socialist and anarchist works from Italy like this one. &lt;br /&gt;&lt;br /&gt;This appears to be the rare case - perhaps even a first - of a woman-owned - Italian or otherwise - bookstore in that period of U.S. history. &lt;br /&gt;&lt;br /&gt;Catello, an immigrant from Locorotondo, Puglia, is the subject of a 2011 work by American historian and distinguished Italian-Americanist Jennifer Guglielmo, and several scholars from Italy, entitled &lt;em&gt;Elvira Catello e la "Lux" tra utopia e liberta; una pacifista pugliese a New York nel 900 &lt;/em&gt;[Elvira Catello and the "Lux" between utopia and liberty; a pacifist Pugliese in New York in the 1900s]. Bari: Edizioni dal Sud.&lt;br /&gt;&lt;div class="product-description"&gt;
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&lt;p&gt;A writer as well as publisher and bookstore owner,&lt;i&gt; s&lt;/i&gt;he was the guiding force of one of the most important political-cultural circles of an anarchic and libertarian tendancy in New York. A pacifist and thus opposed to militarism, she founded, together with her husband Elio Perrini, the Libreria Ed. "Lux", and thus had a distinct role within the anarcho-radical Italian American press. &lt;br /&gt;&lt;br /&gt;She was also the set designer of a theatrical company whose plays had women at the forefront, a fact that attracted the attention of the whole American feminist movement.&lt;em&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;/em&gt;&lt;/p&gt;
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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;Gli Italo-Americani e la guerra &lt;/em&gt;&lt;/strong&gt;[Italian Americans and the War].&lt;strong&gt; New York: Workers Library Publishers, Inc., 1940.&lt;/strong&gt;</text>
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                <text>Published for National Election Campaign Committee Communist Party of the United States.&lt;br /&gt;&lt;br /&gt;Cacchione was the first member of the New York City Council who was openly a member of the Communist Party USA.</text>
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            <name>Creator</name>
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                <text>Peter V. Cacchione</text>
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                <text>Workers Library Publishers, Inc.</text>
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                <text>19 x 12.5cm; 14 p.</text>
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            <description>A language of the resource</description>
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                <text>Italian</text>
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        <name>Peter Cacchione</name>
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        <name>propaganda</name>
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