Set in Utica, New York, in the 1950s, Johnny Critelli evokes the richness, conflicts, lusts, and longings of an Italian-American community trying to embrace American culture as it clings to its own. In Utica, food, family, religion, and Joe DiMaggio are equally transcendent. Every extra penny in town in invested in Little League in a romantic homage to athletic greatness and to a Yankee line-up studded with Italian-American names. At the heart of this story are three generations of the author's own family and Johnny Critelli, a mythical orphan who may have disappeared years before Lentricchia's birth, but who continues to obsess him. Raw and rapturous, this novel extols the creativity of the mind and tenacity of the spirit. The Knifemen is an explosive, blunt-force evocation of the evil voices inside men. It presents a chilling, rapid descent into the mental hell of Richard Assisi, a respectable gynecologist and apparently decent man, who turns self-hatred onto everyone around him, especially those who love him most. Richard is a man moving through ordinary rooms and saying familiar things, but all the while with slaughter and misogyny in his heart. Intensely compelling, The Knifemen dissects the metaphysics of maleness, exposing the primordial lurch toward violence and blood lust.

Leaving Little Italy explores the various forces that have shaped and continue to mold Italian American culture. Early chapters offer a historical survey of major developments in Italian American culture, from the early mass immigration period to the present day, situating these developments within the larger framework of American culture as a whole. Subsequent chapters examine particular works of Italian American literature and film from a variety of perspectives, including literary history, gender, social class, autobiography, and race. Paying particular attention to how the individual artist's personality has intersected with community in the shaping of Italian American culture, the book reveals how and why Italian America was invented and why Little Italys must ultimately disappear.

The gangster, in the hands of the Italian American artist, becomes a telling figure in the tale of American race, gender, and ethnicity - a figure that reflects the autobiography of an immigrant group just as it reflects the fantasy of a native population. From Wiseguys to Wise Men studies the figure of the gangster and explores its social function in the construction and projection of masculinity in the United States. By looking at the cultural icon of the gangster through the lens of gender, this book presents new insights into material that has been part of American culture for close to 100 years.

First published in 1999. The many available scholarly works on Italian-Americans are perhaps of little practical help to the undergraduate or high school student who needs background information when reading contemporary fiction with Italian characters, watching films that require a familiarity with Italian Americans, or looking at works of art that can be fully appreciated only if one understands Italian culture. This basic reference work for non-specialists and students offers quick insights and essential, easy-to-grasp information on Italian-American contributions to American art, music, literature, motion pictures and cultural life. This rich legacy is examined in a collection of original essays that include portrayals of Italian characters in the films of Francis Coppola, Italian American poetry, the art of Frank Stella, the music of Frank Zappa, a survey of Italian folk customs and an analysis of the evolution of Italian-American biography. Comprising 22 lengthy essays written specifically for this volume, the book identifies what is uniquely Italian in American life and examines how Italian customs, traditions, social mores and cultural antecedents have wrought their influence on the American character. Filled with insights, observations and ethnic facts and fictions, this volume should prove to be a valuable source of information for scholars, researchers and students interested in pinpointing and examining the cultural, intellectual and social influence of Italian immigrants and their successors.

At eighteen Robert Tagliaferro, an orphan of ambiguous racial and ethnic identity, disappears from his hometown of Utica, New York. At sixty he returns, forgotten by nearly everyone and searching the bin of memory for something to salvage. Having lived for decades inside a bookstore, his search for identity has taken him into the world of great literature and the history of Utica itself, and so his quest must be to create a memory, a history, and an identity from his reading. He becomes a man made of words, a patchwork of styles and rhetoric, an artifice. In the cellar of a restaurant, Robert tells his stories of the past to six other men: stories of Utica, of New York State, and ultimately of America itself, as well as of the intimate involvement of Italian immigrants with these histories. The other characters respond in a kind of collective storytelling, a play of voices probing the various themes of history, genealogy, fatherhood, race, lost children, the presentness of the past, community, and, finally, storytelling itself as the power guiding all, informing their sense of everything, as they grope imaginatively toward a sense of life and their place in it. Rich in literary heritage and allusion, The Music of the Inferno is an unusual, deft, often piercing meditation on storytelling, ethnicity, and the Italian American experience.

Mario Puzo's The Godfather is an American pop phenomenon whose driving force is reflected not only in book sales and cable television movie marathons but also in such related works as the hit television series The Sopranos. In The Godfather and American Culture, Chris Messenger offers an important and comprehensive study of this classic work of popular fiction and its hold on the American imagination. As Messenger shows, the Corleones have indeed become "our gang," and we see our family business in America reflected in them. Examining The Godfather and its many incarnations within a variety of texts and contexts, Messenger also addresses Puzo's inconsistent affiliation with his Italian heritage, his denial of the multiethnic literary subject, and his decades-long struggle for respect as a writer in contemporary America. The study ultimately offers a way of looking at the much-maligned genre of popular or bestselling fiction itself. By placing both the novel and films within a number of revealing critical situations, Messenger addresses the continuing problem of how we talk about elite and popular fiction in America—and what we mean when we take sides.

Introducing a gritty new detective series set in the bleak hinterlands of upstate new York Washed-up private investigator Eliot Conte would rather be teaching American literature and listening to opera than taking pictures of spouses in flagrante delicto. But he flamed out of an academic career when he hung the Provost of UCLA out a window, and he had to come home --- to bleak Utica, New York, where his aging father, Silvio Conte, a political kingmaker, is still cutting deals and hustling appointments, and his all-but-in-blood brother Antonio Robinson is the city's first black Chief of Police. But now Antonio's asking him for a favor that, to Eliot, doesn't seem like the kind of thing a police chief should ask for ... especially as he begins to uncover a trail of evidence leading back to the most sensational hit in local Mafia history. In a Utica marked by economic devastation and racial tensions, Eliot picks up one strand after another, weaving his way through a web of allegiances, grudges, and his own dark demons. Who is the spider at the center of it all?