CRISTOGIANNI BORSELLA

In his new book, Sicilian-American poet Julian Gallo writes of love, passion and longing for the Mediterranean.

I come by way of the trinacria

in order to drink the

Sicilian-Saracen-Spaniard bloodline

left by those who came before me,

those whose seeds watered by

the Mediterranean Sea only to sprout

under New York City sky.

Thus begins the poem "By Way of the Trinacria," by Julian Gallo--just one of many vivid, heartfelt works included in Gallo's latest book: A Symphony of Olives (Propaganda Press, 2009). Prior to reading this colorful little masterpiece of chapbook poetry, I was lamentably convinced that I was the only young Italian-American poet strongly emphasizing the concept of a pan-ethnic "Mediterranean" identity in my works. Fortunately, I was wrong. Gallo is, himself, living proof that an untold number of Italian-Americans still carry with them this Mediterranean identity (or Mediterranita`), even after many generations have passed since the time of the greatest Italian immigration to this country (between the 1890s and 1924).

A recurrent theme throughout Gallo's book, in his quest to reconnect with the "ethnic self," is the poet's longing for an idyllic return to his Sicilian-Mediterranean roots. One poem, entitled "Mediterranean Homesick Blues," especially exhibits this longing. (Taken from the last several lines.)

I seek your melodious voice amongst the

blast of car horns and the screeching of subway breaks.

I seek your gypsy song

and a symphony of olives.

I seek the light behind those dark Spanish eyes

to illuminate the path that will once and for all

lead me home.

Perhaps my favorite of Gallo's poems is "Java Cabana," which paints a picture of a Mediterranean identity common to both Italians and Hispanics, yet unfortunately overlooked or not conveniently recognized in our very race-conscious society. The following excerpt demonstrates this reality, and also provides rich background information into the proud ethnic traditions of the Gallo family--traditions which, themselves, defy stereotypical categorization:

I speak to her of how my father used to listen to this music

and how he loved the brass, the rhythms and she looked

at me, head tilted to the side, questioningly,

"But you're Sicilian!"

"Go figure," I replied.

Yes, go figure. In a flash of an instant thoughts

of my childhood home came rushing in,

with its gold walls, Spanish lamps, Afro-Cuban jazz,

Bosa nova, flamenco playing on the stereo;

the painting of the bullfighter my cousin painted on the wall,

because of my father's love for bullfights on channel 41,

and me watching Iris Chicon with him some nights,

the ever present bottle of sangria on the table

and my uncle's and grandfather's ever present guayaberas

on their backs in the tropical Miami heat whenever we were

on vacation there.

But yes, we are Sicilians,

from a long line of Gallos

from a place where Spaniards ruled for over two centuries;

a place where Arabs once built one of the biggest mosques

since Cordoba.

I used to tell her we have more in common than she realized,

but this was always lost on her due to conventional wisdom

propagated by those who really don't have any wisdom at all.

In other poems, such as "Muse" and "Fallible Gods," Gallo's themes are of sexuality and love. Overall, A Symphony of Olives is one of the most vivacious and genuine works of poetry that I have come across in quite some time. Furthermore, Gallo's thoughtful, open style makes it easy for people of all backgrounds to identify with the author's words and emotions. A Symphony of Olives, by Julian Gallo, can be ordered online at: alt-current.com. You won't be disappointed!

Medocentric: In Acclamation Of Brown Humanity

by Julian Gallo (writer), May 25, 2009, published in BrooWaha New York

Cristogianni Borsella's New Poetry Book explores the idea of a Mediterranean Identity.

Medocentric: In Acclamation of Brown Humanity

By Cristogianni Borsella

Poetry

www.Booksurge.com

I first became familiar with Cristogianni Borsella’s work through an article that was written about him in Primo Magazine, which is a magazine that is dedicated to Italian-American themes and Italian History. In that article, he had discussed the issues that had faced (and to some degree still face) with regard to stereotypes and discrimination. The book he had written about that issue, “On Persecution and Identity”, was certainly an eye opener for me because in it, he pointed out things that I have been wondering about and feeling myself from time to time.

“Medocentric: In Acclimaton of Brown Humanity”, Borsella’s debut poetry book, continues with some of these themes but takes them even further. Not only does he revisit the themes of the Italian American experience in these poems but also the immigrant experience in general, often drawing parallels between the modern immigration experience and the early 20th century experience of Italians when they first came to these shores. Even more so, he tackles the themes of a “Mediterranean Identity”, which is, not Black, not quite White, but somewhere “in between”, playing off the literal meaning of the word “Mediterranean”---Middle Earth. These poems argue for a Mediterranean Identity, something I wholeheartedly support.

In the book’s introduction, Borsella writes, “This particular compilation of poems is called “Medocentric”, because the majority of works are written from what I believe is a Mediterranean/American perspective. This means that many poems are geared toward ethnic Americans, Italian Americans, Hispanic Americans, minority peoples and others (especially those coming from the Mediterranean Basin) who have, at one time or another, been branded “browns” by the white establishment in the United States”.

Having visited similar themes in my own recent work, this book was an absolute pleasure for me to read, mainly because I found myself identifying fully with many of these poems. This is not to mention that they are also very well written, powerful, honest expressions of not only the modern Italian-American experience but of the Latino experience as well. The poem “The Little Working Man”:

The little working man sat on the site, taking a break,

His tawny brown skin glistening in the mid-day sun;

He was building something for his bourgeois bosses---

He didn’t care, as long as they paid.

Giuseppe, Fuckin’ Dago, Boy, Wop---

He answered to them all, as long as he got paid.

Tin can full of water, sweat pouring from his face,

A car drives by in slo-mo---

A Model T full of round-headed beauties,

Bundles of black hair lined up in the back seat,

Two gavones riding up front.

Lucky bastards.

Today the same little working guy

Watches ‘84 minivans and Nissans go by,

Occasionally the un-tinted windows

Let him peak inside getting a brief glance

At the girls in the back.

He’s still the same age, same race,

Same face.

But now he answers to Juan.

In the poem “Dead Ancestors”, Borsella continues these themes. What exactly does it feel like to be an “ethnic” in a predominately Anglo-Saxon society?

I’m a man who’s roots lie

In the crossroads of three continents---

Not like a geo-culturally rootless “Cablasian”

But like a mighty sequoia,

My foundation is primeval,

Centered at a millennial focal point;

The cross-pollination of cultures

Permeates my being.

Sometimes it’s hard to remember this

In the Anglo-dominated phony

Multicultural “As long as you’re a Smith

Or a Jones” continent on which I live.

But I carry this reality with me

Every day of my life,

Regardless of how you ‘Mericans

Judge my exterior whenever I

Open my door to step out….

I can relate to this poem, and have always felt it, but was never able to articulate it. Borsella’s poems gives voice to the silent but growing chorus of those who feel a strong connection to this “in between” world. Borsella is one of the few, if not the only, writer at the moment addressing these particular themes of cultural identity, this “Medocentric” idea:

from “My Name is Mud”

Too bad I wasn’t aborted.

That’s what you people thought, right?

I shouldn’t be allowed to cry, to piss, to shit,

To grow up, to eat up, to throw up,

I shouldn’t have any privileges, right?

After all, my name, my very being is mud---

Unique mud, exotic mud, different mud.

This book is for those who have always felt part of, but also a bit alienated from the dominant culture in the United States--that is the white Anglo-Saxon culture. It gives voice to those who feel somewhat “different” from it, but never could quite articulate it and it is done brilliantly through hard hitting poems which are not afraid to shy away from themes that others are afraid to approach.

Most importantly, this book of poems also demonstrates that that humanity is one and that people cannot be type-cast into artificial racial boxes. There is ultimately one race---the Human Race while at the same time an exploration into “ethnic reawakening”, a tribute to a part of the world where a conglomeration of differing cultures come together and create something unique, not to mention the history of this part of the world and all the brilliance that came forth from it, whether it be Italian, Spanish, Greek, Arab, etc.

So far Borsella is the only one giving voice to these themes as far as I know. But there is a growing chorus bubbling up under the surface and hopefully this book will help inspire others to come out and be heard. This is an excellent collection of poetry, one that must be read by those in which it is a tribute to as well as those, especially those, who are unfamiliar with these themes.

Summary of Fascist Italy, September 24, 2007

This book gives a concise history of Mussolini and the first Fascist regime. The book starts with an introduction by Adolph Caso describing his childhood memories growing up in an Italian village during the wartime years, his family's experience and his observations on moving to America.

The text proper summarizes Mussolini's early political associations, the state of Italy beginning some time prior to World War I and conditions following that conflict. The reader is introduced to the thinkers and activists who formulated the various doctrines that influenced Mussolini although eventually he adhered to none of them as originally conceived.

Mention is made of the other great dictators and `isms' of this period and the reader is reminded that bad as he was and although not hesitant to use violence to achieve his objectives, Mussolini did not engage in mass killings, nor did he institute the concentration camps or gulags of other regimes.

Mussolini formed a compact with the Vatican with which he restored relations and did not appear to be antagonistic to religion. He was not a racist although when he became a dependent and lackey of Hitler during World War II, he did promulgate anti Semitic laws. Prior to this Jews held prominent positions in his regime.

The author does a commendable job of laying out the conditions under which Fascism (or other `isms') arises and from time to time the reader may find some of the comparisons with our present situation disturbing. However, the book closes with a reassuring conclusion in this regard and points out how the Constitution and our system of checks and balances create a considerable obstacle to any individual or party seeking to establish a totalitarian regime in this country.

Impressive Historical Contribution, September 1, 2007

Put together a young serious historian and a "been-there; done-that" publisher, and you have an impressive interesting book entitled Fascist Italy: A Concise Historical Narrative. The book, written by 28-year-old Cristogianni Borsella, in my opinion, reveals a well-versed, knowledgeable, and dedicated author with an excellent writing and presentation style that allows readers of all ages and background to learn from him. In addition, Adolph Caso, publisher of Branden Books, brings to us in the Introduction¾ "Fascism, Italian Style: Reactions to memories and events," as a beautiful backdrop against which we gain a new and/or expanded understanding of Fascism.

Now you might quickly frown and say, "Now why would I want to learn more about Fascism?" I admit it! My first thought was, "Now what have I gotten myself into this time?" However, I was quickly dispelled of my qualms. Adolph's sharing of his memories of his early life under the regime of Benito Mussolini quickly made the book more personable. A simple little story about his mother having to give up her pots and pans, for example, emphasizes to each of us the struggles of those who have lived through those horrible times in the past. At the end of the Introduction, I was looking forward to learning more!

Just what is Fascism? "In the past 60 years it has been used egregiously as a synonym for totalitarian dictatorship and chauvinism." (P. 120). The writer continues, however, "Fascism is not just ring-wing bigotry, however; it is much more insidious. It is the merger of finance capital and state power. . .quite literally capitalism in decay. . ." (P. 120)

Now, does that make you curious? Finance Capital--Banks? State Power--the ever-present bureaucracy??? I must admit that by the time I was reading Chapter 11, "What is Fascism," I was beginning to wonder about how things are going here in the United States. Was this book relevant to me? Were we perhaps moving toward Fascism or are we already there? There's no way around it, in today's world, we are all asking questions, wondering about whether we are doing the right thing, whether we have gone too far in participating and even initiating actions against other countries.

As the title relates, Borsella has presented a concise historical narrative of the development, movement toward, and the evolution of Fascist Italy, providing both an historical accounting of Italy's place in Fascism as well as the relationship that was later developed between Mussolini and Hitler, as well as a comparative analysis with other ideologies such as Marxism, etc.

The narrative moves quickly and easily, building as is needed to gain the necessary historical background and knowledge and then moving with readers to allow us to consider how Fascism may have or is affecting us in the United States.

I leave you with a selection from 14 Characteristics of Fascism: (pps. 142-143)
Powerful and continuing expressions of nationalism
Identification of enemies/scapegoats as a unifying cause
The supremacy of the military/avid militarism
Rampant sexism
A controlled mass media
Obsession with national security
Power of corporations protected
Fraudulent elections
Rampant cronyism and corruption

Any of these sound familiar? Want to read more? Wonder about the rest of the characteristics? Wonder how the author sees the United States based upon his extensive study? I think this book goes beyond the basic research efforts of historians. Borsella has taken a look at significant historical facts and used them intelligently and effectively to allow us to expand our own knowledge as well as explore how and if we fit within Fascism. For surely you've heard us being referred to as a Fascist nation? Are we? If you have questions at this point, I highly recommend Fascist Italy by Cristogianni Borsella!

Borsella's Research Relevant to Today's Headlines on Immigration!, April 27, 2008

Cristogianni Borsella is making a name for himself as a major research historian. In On Persecution, Identity & Activism: Aspects of the Italian-American Experience from the Late 19th Century to Today, he not only again shares his brilliant research and writing talents, but he also shares his personal thoughts and feelings on issues of racial prejudice and persecution, and how these issues are influenced and promulgated through the media.

I enjoy reading Borsella's research. While his main goal is to highlight his Italian-American heritage, his research is well rounded and encompassing. And the proof of his efforts is that there is new information that will undoubtedly teach his readers, including myself, about the atrocities faced by Italians in America (as well as similar information on other groups, including African-Americans, American Indians, Jewish, Irish, Japanese, et.al., normally non-white.

Indeed Part I of this book provides complete information documenting that Italian-Americans have been the third most persecuted minority in U.S. History! Here are just a few random selections of the little-known facts provided:

From 1870-1940, Italians were the second most lynched ethnicity, second only to African-Americans.
Sicilians were the largest group in New Orleans and were singled out as the most dangerous class and blamed for practically all the murders that took place.
During the last decade of the 19th century, according to the Commissioner of Labor, "one-third of all Italians in the four largest cities in the country were living in deplorable poverty.
The Mafia stereotype was greatly responsible for the many lynchings, and all Italians were accused either directly or by implication.
During WWII, 600,000 people of Italian background had their rights besieged by the U. S. government.
Part II of Borsella's book moves into greater detail about the identity and assimilation of Italians into America. I think the question "Are Italians White?" which is explored, is the most telling of the racism that continues even today. Borsella explores how the issue of "color" really has no bearing when discussing ethnic issues since immigrants from Italy, as well as other countries, have a range of skin colorings.

In an unexpected twist, Borsella has included his own personal activism activities, including actual on-line arguments he has shared, which made his book just a little different and more interesting. When individuals choose to learn about their heritage and celebrate it, it is important that truthful, factual information is available. One of the controversial areas for Italian-Americans has been the exploration and call for the elimination of Columbus Day.

Inclusion of these more recent issues brought a new understanding to Borsella's title! I sometimes wonder how we have come to be known as "the melting pot" when there are still so many fighting for vested interests by overriding historical fact. Indeed, Columbus was the discoverer of American. Just as all peoples have performed atrocities, this cannot and should not negate actual events. Borsella's inclusion of this issue is an excellent exploration of the arguments for and against the celebration of this day.

Finally, Borsella takes issue with television, movies and other media who have stereotyped all Italian-Americans under the umbrella of being part of organized crime, highlighting that the latest series, The Sopranos, illustrates the continuous illusion that can only serve to continue the defamation of an entire ethnic group.

Personally, I applaud everything that was covered in this book. Given the issues of immigration that are in today's headlines, this book just may be a must-read as you explore your own feelings about today and tomorrow's headlines.

The Picasso of American histories, June 2, 2006

"On Persecution, Identity & Activism: Aspects of the Italian-American Experience from the Late 19th Century to Today," could easily be called a new classic of Cultural Studies. Containing contemporary sources of information such as chat room debates, listserv posting and web page persuasion, "On Persecution," reveals the past with present means to better the future. This book clearly dispels the politically correct myth of easy assimilation into the American Dream. By examining the history of the Italian peoples in America, Cristogianni Borsella enlightens the current debate on illegal immigration of Mexicans crossing our southern most border. They don't want to assimilate. They work the jobs no American wants. They're dirty, uneducated and criminals. These claims are not new or unique to the Mexicans. Borsella documents these same remarks as applied to the new immigrants from Italy of the nineteenth century.

"On Persecution" is a Picasso of American and American-Italian histories. Uneven and at times odd, the work contains many sharp angles that at first appear disjointed. Yet together the pages form a complete whole, a needed presence in contemporary ethnic scholarship. "On Persecution" contains six chapters, four appendices, endnotes, a bibliography and an index, so it could serve a teacher well in the classroom. It is easy to read, and at times the personality of the author is so immediate and delightful, the reader may sense he is prying into a personal diary. Such personality makes the book flow quickly even when the narrative evaporates into lists and documentation.

The strengths of the book are many. First, Borsella sets forth a persuasive case that Italian immigrants have been a persecuted minority group in the United States. Over a hundred pages serve to chronicle cases of execution, lynching and defamations through the nineteenth and twentieth centuries. Second, this work illustrates that generalizations and contemporary categorizations seldom fit well upon the facts of history. Borsella uses the history of the Italian immigrants to discuss the social construction of race, white identity and assimilation differences by generations. His work is sure to disrupt the reader's assumptions concerning the working of the American society. Countering the notion of European white privilege, Borsella presents Italians as "historically black" documenting American societal segregation habits of preventing Italian children from attending white schools, requiring Italians to sit in the back rows of movie theatres, and American churches isolating Italians from the main fellowship by ushering them into garages and dank church basements. Third, the book raises serious questions concerning identity construction and negotiation, societal perception, and the media's role in influencing American culture.

Specifically from a Communication perspective "On Persecution" would be an asset to any Com scholar's library for a variety of reasons. The work is a journey of discovery. The author describes his own, almost religious awakening to his ethnic heritage. This journey is unselfishly shared by an author who makes his thoughts most transparent. The genuineness of the tour guide provides and effective ethos to his overall argument. Furthermore, a gift of this text is the serious respect it gives to contemporary communication forms. Borsella's fruitful use of chat room debates and webpage postings challenge traditional scholarship's lack of attention to the same. Another aspect I enjoyed were the historic pictures and cultural snapshots of Italian Americans integrated throughout the book.

The negatives of the book do not overshadow the many positives. His chapters are uneven, with chapter six containing four pages while chapter two is close to a hundred pages. The chapters are not units of though - some contain one major idea while other contain several key ideas, and in other chapters I could discern no overarching theme. Chapter titles would have helped, and a better editor could have made organizational suggestions to strengthen and balance the chapters. Indeed, these are minor grievances, especially when one recognizes that this is Borsella's first nonfiction book.

He begins his introduction of material with a discussion of several immigrant groups such as the Japanese, Chinese and the Jews to illustrate persecution in America is by no means rare. He then moves on to provide background for the marginalization of the Italian immigrants. Next Borsella offers a chronology of discrimination against Italians before discussing Senator Estes Kefauver's Crime Committee hearings of the 1950's that linked Italians and crime in the mind of the public. The fourth chapter deals with the construction of race and presents an online debate over the historical question of whether Italians are white. From there he examines the role of the media through television stereotypes, Mafia movies and news coverage of Columbus Day repudiations. The work ends with a reflective Epilogue on forgetfulness and the diaphanous nature of Italian inequity.