74 • Italian American Review 4.1 • Winter 2014

From a scholarly vantage point, one of the most significant limitations of this site may be its dogged focus on a certain understanding of Italian-American culture as a way of defining the scope of the project. While undoubtedly it helps to make the program manageable, in a neighborhood that was historically home to other ethnic communities it presents a somewhat less rich picture of neighborhood culture and history.

Since the Italian American Review is a scholarly publication, in the above, I have been adhering to the conventions of academic reviews. Yet in many ways this site defies the kind of categorization that makes those concerns applicable. It has something in common with digital public folklore or oral history projects, such as City Lore’s City of Memory (http://www.cityofmemory.org/map/index.php) project in New York City, especially in its mission to preserve and promote North End history and culture and in its open-ended invitation for users to submit material. Yet, the site does not seem to have the same kind of funding, technological infrastructure, or professional personnel available to City Lore, so the scope and quality of the production are sufficiently different that it is difficult to consider it exclusively in academic terms. This is not to sound discouraging; the site is well made, and its contributors have done a nice job in collecting a body of interesting reflections by local residents on their experiences and the experiences of their families living in a much-studied ethnic neighborhood. Thus, while the material presented by North End Stories may be too heavily curated to be of use as sources in scholarly writing, it will certainly be of interest to scholars of Boston history and Italian-American culture, as well as the general public.

—ANTHONY BAk BUCCITELLI Pennsylvania State University, Harrisburg

John Fante: A Life in the Works.http://unitproj.library.ucla.edu/special/fante/index.htm(accessed periodically between June 1, 2013, and July 30, 2013)

The material for the online exhibit about Italian-Californian writer John Fante was selected from the John Fante Papers, which were acquired by the University of California Los Angeles (UCLA) Library Special Collections in 2009. The exhibit, John Fante: A Life in the Works, was curated by Daniel Gardner (UCLA Library, Center for Primary Research and Training) and Stephen Cooper (professor of English at California State University, Long Beach), author of Full of Life: A Biography of John Fante (2000).

John Fante made art of his life: He reinvented it in order to write powerful stories, focusing on fictional truths, not biographical ones. He was not interested in confessing anything: He was interested in his style. Like any artist, he gave shape and beauty to life. To consider Fante’s work as being autobiographical would be misguided because such an approach risks underestimating his imagination and talent. Yet how can we deny the role of biography in his artistry? His life was his raw material. Thus, “walking” virtually through this exhibit is extremely involving, and those of us who have loved

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this writer enter the exhibit with anticipation. Someone familiar with Fante’s oeuvre can’t help but want to associate a particular photograph or letter with a memorable paragraph or character in one of his books. Indeed, even experiencing the exhibition online, we look for the confirmation that his most famous creation, Arturo Bandini, existed. But even for the Fante novice, this exhibit compels visitors to enter his world, to perceive the smells and the colors of another era. It offers a strong incentive to read Fante, by offering us an introduction to his unique literary adventure.

The exhibit is well organized and easy to explore; it uses a book format as its orga-nizational guide and is divided into eight discrete sections called chapters. In the first one (“Colorado Youth, Lifelong Themes”) we find a few photographs of a young Fante; the suggestive cover of Dago Red; and also a touching letter from his former “sparring partner” Herman Hanston to Fante’s wife, Joyce Smart Fante, after her husband’s death. In Chapter 2, “Southern California and Early Writings,” we can see that Fante’s bittersweet humor is already well shaped in a 1932 letter to his mother where he claims he would never get married (marriage is “a messy business!”). This chapter includes an acceptance letter by the editor H. L. Mencken in which he also gives Fante advice, a letter from publisher Alfred A. knopf, and a few fragments from Fante’s diary. In the third chapter, “The Allure of Hollywood,” we can read Fante’s treatment for Orson Welles’s unfinished movie It’s All True and the letter Fante wrote to his parents about it (reading his letters is quite enjoyable because of his crystal-clear penmanship). The first-edition covers in the exhibit feature vibrant illustrations evocative of their eras, the cover of Full of Life, seen in this chapter, being a prime example. (One senses that Joyce Smart would probably object to the caption accompanying a photograph of her as a young woman [“Their marriage inspired the novel and film Full of Life ”], given that she famously commented on how the sugary novel was the opposite of their marriage at that time. But this is the only criticism I would make of this otherwise superb homage to John Fante.)

In Chapter 4 (“The Saga of Arturo Bandini”) we find, among other things, a letter to author William Saroyan and a photograph of Marie Baray, the inspiration for Camilla Lopez, Ask the Dust ’s unforgettable female protagonist. A letter from John Steinbeck (his handwriting not as clear as Fante’s, a version typed by the curators would have been appreciated) is the highlight of Chapter 5 (“The War and Post–War Years”), while in Chapter 6 (“The Confusion of the Times”) we come upon a fragment of a seemingly spontaneous personal prayer typed on an upside-down manuscript page. Here, in lines such as “come to me with the wonderful clarity of my boyhood,” it is possible to perceive the echo of Arturo Bandini’s lyrical and powerful voice, the voice of youth. Chapter 7 (“Revival”) tells the story of the resurrection of Fante as a writer: There’s an encouraging letter, full of sincere admiration, from Charles Bukowski, written in a digressive, bukowskian style, and a letter from John Martin, publisher of Black Sparrow Press, telling Fante of interest from a German publisher in new editions of his previously published books. Finally, Chapter 8 (“Fante in the World”) exhibits evidence of the posthumous success of this writer: the program of the Literary Festival dedicated to him in Italy; covers of the foreign editions of his books; and a picture of John Fante Square in downtown Los Angeles taken by co-curator Stephen Cooper, who has contributed so much to Fante’s rediscovery. This exhibition is Cooper’s latest homage to his literary hero.

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For the more advanced scholar or reader of Fante this exhibit is enjoyable and satisfying. But I would say this engaging exhibit is especially valuable for visitors who have not read Fante yet and who might subsequently be interested to explore his work. It is particularly important that this exhibit is online: Fante, the writer who wrote more than anyone else about his youth and ours, should be made accessible to young people, and what better way to do that than through the youngest of media? And, among so much muddled information we often sift through on the Internet, it is a pleasure for them (and us) to find such a treasure.

—EMANUELE PETTENER Florida Atlantic University