Here are 100 books that Fascist Spectacle fans have personally recommended if you like
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I am a historian and a professor of political management at George Washington University, and I became interested in the John Birch Society when I encountered the group while writing my first book, on Ronald Reagan's 1966 California governor's campaign. I'm also fascinated by debates about political extremism in modern America including such questions as: how does the culture define extremism in a given moment? How does the meaning of extremism shift over time? And how do extremists sometimes become mainstream within the context of American politics? These were some of the puzzles that motivated me to write Birchers.
Ben-Ghiat limns the traits that characterize authoritarians in modern times.
Drawing a line from Mussolini to Trump, the author guides readers in the authoritarian’s playbook, revealing how dictators corrode democratic norms and undermine institutional restraints on their power. This lucid, well-written history makes you think about dictatorship across time, cultures, and nations.
Ruth Ben-Ghiat is the expert on the "strongman" playbook employed by authoritarian demagogues from Mussolini to Putin-enabling her to predict with uncanny accuracy the recent experience in America and Europe. In Strongmen, she lays bare the blueprint these leaders have followed over the past 100 years, and empowers us to recognize, resist, and prevent their disastrous rule in the future.
For ours is the age of authoritarian rulers: self-proclaimed saviors of the nation who evade accountability while robbing their people of truth, treasure, and the protections of democracy. They promise law and order, then legitimize lawbreaking by financial, sexual, and…
I’m a professor of Classics at Rutgers University, where I’ve taught since 2000; before that, I spent a decade on the faculty of Bryn Mawr College. For three years I served on the staff of the American Academy in Rome, a somewhat frenetic experience that prompted me to shift my focus from ancient Roman history to the history of the city of Rome. Since 2010 I’ve been managing a private family archive in Rome, that of the papal Boncompagni Ludovisi, which covers the period from the early 1400s to the 1940s. Now completely digitized, the archive has much new material to offer, not least on the era of Mussolini, including resistance to his regime.
In her decades of work on Italy’s Fascist era, Marla Stone has shown an especially keen eye for the development of the regime’s policies and ideologies, whether in the sphere of art and culture, or that of political violence and imperialist aggression. Here Stone offers a succinct and penetrating overview of the origins, rise, consolidation, and eventual crash of Fascism in Italy, followed by a translation of some three dozen primary documents—about a third of which were otherwise unavailable in English—to illustrate her narrative. Particularly chilling are the propaganda texts from 1938 on, when Mussolini’s grandiose claims to the legacy of ancient Rome took a back seat to full-blown racial politics, “as Italians were declared ‘Aryans’ and biological anti-Semitism became part of official ideology.”
As the first mass movement of the radical right to assume power in the wake of World War I, Italian Fascism became the model and inspiration for violent anti-democratic and anti-socialist forces that swept Europe between 1919 and 1945. In this volume Marla S. Stone provides an essential introduction to the rise and fall of Benito Mussolini's Fascist dictatorship. Drawing on the most recent historical scholarship, Stone explores the multifaceted nature of Fascist rule, which drew strength not only from its terror apparatus but also from popular support for its social programs. More than 35 primary sources, including speeches, decrees,…
I’m a professor of Classics at Rutgers University, where I’ve taught since 2000; before that, I spent a decade on the faculty of Bryn Mawr College. For three years I served on the staff of the American Academy in Rome, a somewhat frenetic experience that prompted me to shift my focus from ancient Roman history to the history of the city of Rome. Since 2010 I’ve been managing a private family archive in Rome, that of the papal Boncompagni Ludovisi, which covers the period from the early 1400s to the 1940s. Now completely digitized, the archive has much new material to offer, not least on the era of Mussolini, including resistance to his regime.
When Rome started minting coins for export markets in the third century BCE, one of the first emblems it chose was the she-wolf that, according to legend, suckled the twin infants Romulus and Remus on the site of the city not yet founded. In Italy, almost every generation since then has embraced the animal—as the author explains, “a beast that was Roman and mother, ancient and wild, fearsome and protective”—to communicate pretty much whatever message it wanted. Cristina Mazzoni amply illustrates the indeterminacy of the symbol, which Mussolini leveraged in his propaganda to elicit feelings of both patriotic pride and terror, but still found difficult to control. Case in point: just fifteen years after Mussolini’s death, the wolf with twins became the symbol of the 1960 Rome Summer Olympics.
Since antiquity, the she-wolf has served as the potent symbol of Rome. For more than two thousand years, the legendary animal that rescued Romulus and Remus has been the subject of historical and political accounts, literary treatments in poetry and prose, and visual representations in every medium. In She-Wolf: The Story of a Roman Icon, Cristina Mazzoni examines the evolution of the she-wolf as a symbol in western history, art, and literature, from antiquity to contemporary times. Used, for example, as an icon of Roman imperial power, papal authority, and the distance between the present and the past, the she-wolf…
I’m a professor of Classics at Rutgers University, where I’ve taught since 2000; before that, I spent a decade on the faculty of Bryn Mawr College. For three years I served on the staff of the American Academy in Rome, a somewhat frenetic experience that prompted me to shift my focus from ancient Roman history to the history of the city of Rome. Since 2010 I’ve been managing a private family archive in Rome, that of the papal Boncompagni Ludovisi, which covers the period from the early 1400s to the 1940s. Now completely digitized, the archive has much new material to offer, not least on the era of Mussolini, including resistance to his regime.
The raised-arm salute is the most distinctive gesture of 20th-century Fascism and Nazism; in the 21st century, it still thoroughly shocks when spotted. Its origin? Though the so-called “Roman salute” has been widely supposed to date back to classical antiquity, Winkler in a meticulous study demonstrates that it is a modern creation, an anachronism that first consistently cropped up in theatrical contexts (stage and early motion pictures) in the 1890s. Though nonsensical from a historical point of view, “it does make political and ideological sense”, argues Winkler, “to all those who see in the Romans a model for power and might and for glorious conquest of others.” More generally, the book is essential reading on the origins and evolution of Mussolini’s theatricality.
The raised-arm salute was the most popular symbol of Fascism, Nazism, and related political ideologies in the twentieth century and is said to have derived from an ancient Roman custom. Although modern historians and others employ it as a matter of course, the term “Roman salute” is a misnomer. The true origins of this salute can be traced back to the popular culture of the late nineteenth and early twentieth centuries that dealt with ancient Rome: historical plays and films. The visual culture of stage and screen from the 1890s to the 1920s was chiefly responsible for the wide familiarity…
I’m a historian who wrote a book on antifascism. In a way, I decided to write a book on the history of antifascism because I thought it was a good way to make sense of the history of fascism. Something along the lines of: Nobody knows you like your worst enemies. But I also thought that more books on the history of antifascism itself would be a good thing. There are many books on fascism and relatively few on anti-fascism. Ultimately, I decided to write Everything Is Possible because I thought that the first antifascists had useful lessons to share about how to turn the world toward something better than the one you’ve been given.
This ferocious little book is brilliant. It’s as much about how to fight fascism as it is about fascism itself, but it’s still a good place to start figuring out how the fascists came to power in Italy.
The key thing to grasp, Behan insists, is that there was nothing inevitable about Benito Mussolini’s rise (hence the “resistible” in the title, which is also a clever homage to Bertolt Brecht’s classic antifascist allegory, his 1941 play The Resistible Rise of Arturo Ui). Behan’s big point is that if the foes of early Italian fascism had all worked together and resisted, they could have smashed fascism before it got going.
In 1920 Italy was on the verge of a socialist revolution. Just two years later Benito Mussolini's fascists took power and ushered in an era of repression, war and, ultimately, genocide. In this enthralling book Tom Behan shows how a group of militant anti-fascists came close to stopping Mussolini and changing the course of history. Tragically, their bravery was undermined by a combination of the left's sectarianism and naive faith in the impartiality of the police. "An important and detailed analysis of a period of Italian history which is often ignored" - WSF
I’m a historian who wrote a book on antifascism. In a way, I decided to write a book on the history of antifascism because I thought it was a good way to make sense of the history of fascism. Something along the lines of: Nobody knows you like your worst enemies. But I also thought that more books on the history of antifascism itself would be a good thing. There are many books on fascism and relatively few on anti-fascism. Ultimately, I decided to write Everything Is Possible because I thought that the first antifascists had useful lessons to share about how to turn the world toward something better than the one you’ve been given.
This is a wonderful book attentive to the cultural dimensions of fascism.
It is also a good book for making sense of fascism’s global attraction. Within a few years of its creation in Italy, fascism began to attract adherents around the world. To give just a few examples, there were Goldshirts in Mexico, Grayshirts in South Africa, Blackshirts everywhere from Kenya to the United States, and Greenshirts in Egypt and France. In Ireland were Blueshirts. And in China there were Blueshirts as well.
In Revolutionary Nativism, the historian Maggie Clinton details the Chinese Blueshirts’ ideological vision of exclusionary nationalism, hyper-modernist regeneration, and military authoritarianism.
The Blueshirts’ attempts to realize their vision, Clinton writes, amounted to a “Cultural Revolution from the Right.”
In Revolutionary Nativism Maggie Clinton traces the history and cultural politics of fascist organizations that operated under the umbrella of the Chinese Nationalist Party (GMD) during the 1920s and 1930s. Clinton argues that fascism was not imported to China from Europe or Japan; rather it emerged from the charged social conditions that prevailed in the country's southern and coastal regions during the interwar period. These fascist groups were led by young militants who believed that reviving China's Confucian "national spirit" could foster the discipline and social cohesion necessary to defend China against imperialism and Communism and to develop formidable industrial…
I’m a historian who wrote a book on antifascism. In a way, I decided to write a book on the history of antifascism because I thought it was a good way to make sense of the history of fascism. Something along the lines of: Nobody knows you like your worst enemies. But I also thought that more books on the history of antifascism itself would be a good thing. There are many books on fascism and relatively few on anti-fascism. Ultimately, I decided to write Everything Is Possible because I thought that the first antifascists had useful lessons to share about how to turn the world toward something better than the one you’ve been given.
Ask some historians of fascism what book in English they recommend as an introduction to the subject, and, I’d guess, most will recommend Robert O. Paxton’s classic 2004 book-length essay, The Anatomy of Fascism.
Fair enough, but to my mind it is Paxton’s earlier monograph French Peasant Fascismthat is his outright masterpiece of historical writing.If you’ve read The Anatomy of Fascism, there’s also the joy of seeing Paxton, in French Peasant Fascism, working out the ideas and themes that animate the later, better-known book. To understand the rightwing Depression-era French farmers known as the Greenshirts, Paxton argues, don’t focus so much on their official programs and doctrinal declarations, but rather watch them in action.
Watch them as they act out their ideology, at the market-day rally or when the taxman comes.
French Peasant Fascism is the first account of the Greenshirts, a militant right-wing peasant movement in 1930s France that sought to transform the Republic into an authoritarian, agrarian state. Author Robert Paxton examines the Greenshirts in five case studies, throwing new light on French rural society and institutions during the Depression and on the emergence of a new rural leadership of authentic farmers. Paxton points out that fascism remained weak in the French countryside because the French state protected landowners more effectively than did those of Weimar Germany and Italy, and because French rural notables were so firmly embedded in…
I’m a historian who wrote a book on antifascism. In a way, I decided to write a book on the history of antifascism because I thought it was a good way to make sense of the history of fascism. Something along the lines of: Nobody knows you like your worst enemies. But I also thought that more books on the history of antifascism itself would be a good thing. There are many books on fascism and relatively few on anti-fascism. Ultimately, I decided to write Everything Is Possible because I thought that the first antifascists had useful lessons to share about how to turn the world toward something better than the one you’ve been given.
Enzo Traverso is a gifted thinker, the sort who doesn’t simply change his readers’ minds but rather reshapes how they might even begin to perceive the world around them.
He offers his readers intense, tragic, and peculiarly inspiring visions of the modern world. In The New Faces of Fascism, Traverso considers the twenty-first century radical right, the right of Éric Zemmour, the “great replacement,” MAGA, the Golden Dawn, and Brexit. Unlike simplistic critiques posing the new right as the “return” of fascism, Traverso’s method for understanding the new right begins with the recognition that it “inevitably awakens the memory of fascism.” Fascism haunts our world. It is a ghostly presence in the present.
Read New Faces of Fascism alongside From Fascism to Populism in History, written by another of the great present-day historians of fascism, Federico Finchelstein, and feel the press of the past on the politics of…
What does Fascism mean at the beginning of the twenty-first century? When we pronounce this word, our memory goes back to the years between the two world wars and envisions a dark landscape of violence, dictatorships, and genocide. These images spontaneously surface in the face of the rise of radical right, racism, xenophobia, islamophobia and terrorism, the last of which is often depicted as a form of "Islamic fascism." Beyond some superficial analogies, however, all these contemporary tendencies reveal many differences from historical fascism, probably greater than their affinities. Paradoxically, the fear of terrorism nourishes the populist and racist rights,…
I am Professor of Classics at George Mason University. I learned about ancient Romans and Greeks in my native Germany, when I attended a humanist high school, possibly the oldest in the country. (It was founded during the reign of Charlemagne, as the eastern half of the Roman Empire was still flourishing.) My mother once informed me that I betrayed my passion for stories long before I could read because I enthusiastically used to tear pages out of books. In my teens I became fascinated with stories told in moving images. I have been a bibliophile and, em, cinemaniac ever since and have pursued both my obsessions in my publications.
An American journalist, expelled from Italy in 1925, traces roots, rise, and rule ofIl Duce in this 1935 book, which is as vivid as its title.
Mussolini appears as a cheap showman, who, “acting the Hero,” revived ancient Roman pomp and spectacles. He was also aware of the power of mass media, especially the cinema, “posing before men and moviemen.”
One of the virtues of Seldes’ book are the extensive quotations, which unmask Mussolini and others in their own words. Fascist documents, quoted at length, include “The Fascist Decalogue” (note its VIII. Commandment!) and the “Fascist Catechism,” which must be read to be (dis)believed.
Seldes’ book has become valuable again in the current age of assorted domestic and foreign media- and image-obsessed demagogues, autocrats, and dictators.
I've found the creep of authoritarianism to be very disquieting. One would have to be willfully blind to not see its manifestations both here and abroad. I wanted to better understand how this phenomenon cast its shadow over the world and I found the '33 Chicago World's Fair an ideal lens to view this through. I've been fascinated by world's fairs since I was a child and the '33 Fair was the first to consciously feature the future. I'm also strangely drawn to this period – if I believed in reincarnation it might provide answers, but I don't. The Zeitgeist just before the full, brutal ugliness of fascism broke over the world, fascinates me.
This famous novel tells the story from the other side, a socialist on the run, in fascist Italy. Certain unforgettable scenes portray the bullying and humiliation at the core of fascism and its human cost. I first read this in college, then re-read it when I was conducting research on Mussolini’s Italy.
Bread and Wine is an anti-fascist and anti-Stalinist novel written by Ignazio Silone. It was finished while the author was in exile from Benito Mussolini's Italy. It was first published in 1936 in a German language edition in Switzerland as Brot und Wein, and in an English translation in London later the same year. An Italian version, Pane e vino, did not appear until 1937.
