Note: the quotations: should the be reveresed with double quotes around the titles of articles and single quotes around quotes within? This is repeated throughout.

‘We Anti-Moderns’ appeared in La Torre, a biweekly journal founded and directed by Julius Evola, published for ten issues from February to June 1930 before being shut down due to opposition from the fascist regime. With La Torre, the 32-year-old Evola aimed to bring his ‘Traditionalist’ worldview into cultural and political debate, calling for a radical revolt against the modern world and even proposing a more ‘absolute’ form of fascism. After his earlier esoteric work with the Ur Group, Evola and his collaborators—including Emilio Servadio, Domenico Rudatis, and Guido De Giorgio—tackled a wide range of topics: politics, philosophy, science, religion, literature, cinema, and anthropology. The journal combined sharp polemics with high-level cultural analysis, often drawing from both national and international sources.

‘The “Freedoms’’ of the Star-Spangled Democracy—The Double Mask’ was published in Il Corriere Padano, a daily newspaper founded in Ferrara in April 1925 by Italo Balbo, a leading fascist figure. Initially a political outlet, the paper soon evolved into a prominent cultural publication under the direction of Nello Quilici (1898–1985), who took over after Balbo left for government duties. Circulation grew rapidly, from 3,000 to 40,000 copies daily. The paper absorbed rival publications, opened regional offices, and gained renown for its lively third page, which welcomed contributions from a broad spectrum of cultural currents. It played a pivotal role in literary and poetic debates, publishing works by major authors such as Ungaretti, Quasimodo, Moravia, and Vittorini. The art section featured notable artists. After a brief suspension in 1943, the newspaper resumed during the Italian Social Republic but was ultimately closed by Allied forces in April 1945. Julius Evola wrote 117 articles for Il Corriere Padano between 1939 and 1942. They are collected in Julius Evola, I testi del Corriere Padano (Padua: Edizioni di Ar, 2002).

‘The Misconception that Americans Are a “Young People’’’, ‘The Americanisation and the Responsibilities of RAI’, and ‘Things to Remember. [<---colon in place of period?]They Play with Fire and Fear Matches’ appeared in Il Nazionale, a newspaper founded and directed by Ezio Maria Gray, who launched it in December 1948 as an ‘independent weekly of politics and culture’ and remained its editor until he died in 1969. A leading figure in the MSI, Gray used the journal to articulate and disseminate neo-fascist positions, promote spiritual renewal, defend national identity, and offer cultural critiques of politics, international affairs, American society, and European developments. The paper focused on themes such as the spiritual crisis of modernity, the rejection of consumerist and American cultural models, continental unity grounded in national traditions, and the subordination of technology to ethics. With Il Nazionale, Gray extended his long-standing motto—‘With the Nation always, against the Nation never’—into the post-war political and intellectual discourse of Italy, actively shaping the MSI’s ideological direction.

‘American Civilisation’ and ‘Sovietism’ were featured in Asso di Spade, a short-lived weekly satirical-political magazine published in Rome between 1952 and 1953. Although detailed information on its editorial staff and contributors is limited, the magazine appears to have aligned with the nationalist and right-wing satirical press of post-war Italy, much like its contemporary Asso di Bastoni. It ran for two series—the first consisting of 26 issues, the second of 30—reflecting its attempt to engage with Italy’s political and cultural debates through satire. Today, surviving issues of Asso di Spade are preserved in specialised periodical archives, such as the Fondo Paolo Moretti collection.

‘“Freedom from Want’, Bovine Humanity’, and ‘Linguistic Servility’ were published in Il Secolo d’Italia, a newspaper founded in Rome on 16 May 1952 by Franz Turchi as a right-wing daily originally titled Il Secolo, with Bruno Spampanat—a veteran of the Decima MAS and a former fascist journalist—serving as its first editor. It was created to support the MSI in the lead-up to the 1953 elections and became the official MSI organ in 1963, later aligning with Alleanza Nazionale after the party’s transformation. During the 1950s and 1960s, leadership passed from Spampanato to the journalist, lawyer, and politician Cesco Giulio Baghino (1922–1995), and then to a triumvirate including Giorgio Almirante, Franz Maria d’Asaro, and Filippo Anfuso—each overseeing different editorial domains—while Aniceto Del Massa (1898–1975), a poet, art critic, and journalist associated with traditionalist and spiritualist currents of the 20th century, directed its influential cultural section. Initially printed in broadsheet format, the paper reached its peak circulation in the 1960s and maintained a conservative, nationalist editorial line. It ceased its print edition in December 2012 and has since continued exclusively online. From 1952 to 1964, Evola used the paper as a platform to explore traditional political thought and to challenge the leading cultural figures of his day through incisive polemics. His contributions are collected in Julius Evola, Il Secolo d’Italia 1952–1964 (Rome: Fondazione Julius Evola, 2001).

‘American Morals,’ ‘The American Man,’ and ‘Farewell to the America of Yesteryear: Contrasts between Ideological Democracy and the Anti-Democratic Character of Labour in America’ were published in Il Meridiano d’Italia, a weekly political journal published in Milan that played an important role as a leading platform for the MSI from its founding on 3 February 1946 until 1961. The publication aimed to bring together former supporters of the fascist regime and veterans of the RSI to help rebuild a national right-wing movement in post-war Italy. By 1951, its circulation had grown to over 50,000 copies per week. Over its 15 years of publication, Il Meridiano d’Italia featured contributions from many prominent neo-fascist intellectuals and politicians, including Giorgio Almirante, Ezio Maria Gray, Pino Romualdi, Giorgio Pisanò, and others, becoming a key organ for promoting neo-fascist ideology, cultural debates, and political analysis during Italy’s postwar ‘reconstruction’ period.

‘The Same Evil’ was published in Domani, a short-lived Italian periodical issued in Rome in 1956. Not to be confused with the modern daily of the same name, this earlier Domani is notable for featuring another contribution by Evola: his article ‘Cause e [E]effetti,’ which offered a sharp critique of drug prohibition laws.

‘American Negroes’ and ‘Tradition and Intellectual Vassalage: Protecting Ourselves Against America’ were published in Il Popolo Italiano, founded after the 1954 Viareggio Congress of the MSI. At that congress, Almirante was elected to the party leadership as a representative of its centrist faction. However, in the summer of 1956, he shifted toward the party’s internal left, hoping this move would help him regain full leadership of the MSI. He found support from Franz Turchi, founder of Il Secolo d’Italia. Michelini, the party’s national secretary, then decided to launch a second daily newspaper to back the secretary’s position: Il Popolo Italiano. The paper’s direction was first briefly entrusted to the journalist Giuseppe Martucci, then personally taken over by Pino Romualdi. A year later, in July 1957, Almirante returned to leadership after temporarily realigning with the secretary’s stance. At that point, there was no longer a need to maintain Il Popolo Italiano, which published its last issue on 19 December 1957. Evola’s articles for the Rome-based daily are collected in J. Evola, Il Popolo Italiano (1956–1957) (Rome: Pagine, 2014). The volume’s introductory essay contextualises Evola’s theoretical contributions, analysing his writings in light of an interview he gave shortly before his death to Claudio Quarantotto—one of the most representative intellectuals of the postwar right, who had also played an active role in the journalistic venture. Evola had been invited to contribute by Pino Romualdi, since the philosopher ‘had the reputation of being the most significant and uncompromising interpreter of an ‘intellectual’ current—albeit a minority one—that had remained faithful to fascism until the end’ (p. 27).

Evola’s writings for Il Popolo Italiano centred on four fundamental theoretical themes: 1) The reconstruction of the final years of fascism and the RSI to assess the Mussolini experience; 2)

The proposal of an ethical-political alternative; 3) The articulation of the need for right-wing historiography; 4) The analysis of key cultural and social trends of the time, particularly his observations on widespread mental pan-sexualism—a self-referential engagement with Eros’s power, pervasive in the inner life and imagination of the ‘Fifth Estate’ man. In contrast, he proposed a metaphysical view of sexuality grounded in traditional thought, capable of inspiring upward openings.

‘The Negro Influence’, ‘Ideas for an “Active Anti-Communism’, and ‘Protecting Humanity from the Marxist Cancer’ featured in the Milan‑based political‑literary monthly Il Conciliatore. Published from 1958 to 1973, all of Evola’s articles for Il Conciliatore are collected in Julius Evola, I testi de Il Conciliatore (Padua: Edizioni di Ar, 2002). These writings cover a broad spectrum: political critiques (e.g., fascism, democracy, totalitarianism, corporatism); cultural and historical commentary (e.g., romanity, tradition, spiritualism, classical ideals); social analysis (e.g., mass movements, youth/student unrest, psychoanalysis, divorce, media); religious and esoteric reflections (e.g., Indo-European religiosity); international and racial issues (e.g., Mussolini and racism, Hitler and secret societies); and essays on various key thinkers (e.g., Giovanni Gentile, Joseph de Maistre, Donoso Cortés).

‘An Anti-Bolshevik Exhibition’ was published in Il Regime Fascista, a daily newspaper founded in January 1926 in Cremona by Roberto Farinacci, a leading fascist figure. The paper emerged from an effort to transform the local weekly Cremona Nuova into a national organ representing the most intransigent and ideologically ‘pure’ fascism. Il Regime Fascista became a prominent voice for the radical wing of the Fascist Party; it reflected Farinacci’s staunchly pro-German and anti-liberal stance. After Mussolini’s fall on 25 July 1943, publication briefly ceased but resumed on 28 September 1943 under the RSI, continuing until April 1945. During this period, it became one of the RSI’s most widely circulated newspapers and was often described as ‘the most pro-Nazi of Italian-language newspapers.’ Evola’s involvement with Il Regime Fascista extended beyond the RSI years; from 1934 to 1943, he edited the cultural page, Diorama Filosofico. See Julius Evola, Diorama filosofico. Raccolata completa degli articoli 1934-1943 (Cinabro Edizioni, 2022).

‘On the Limits of Cultural Bolshevism’, ‘Constructive Anti-Bolshevik Fronts’, ‘What Is at Stake Today in Soviet Russia?’, and ‘The Jew Trotsky and the “Permanent Revolution”’ were published in La Vita Italiana, a prominent monthly political and cultural magazine published from 1921 to 1945, closely associated with the fascist regime and its ideology. Founded and directed by Giovanni Preziosi, a fervent fascist ideologue and later Minister of Popular Culture under the RSI, the journal was known for its staunchly anti-Semitic and pro-German stance. It played a significant role in disseminating fascist propaganda and shaping public opinion during the interwar period and throughout the RSI. The publication actively promoted regime policies, including the reinforcement of anti-Semitic views, portraying Jews as an ‘indissoluble nation.’ La Vita Italiana was instrumental in consolidating fascist power throughout the 1920s and 1930s. After Mussolini’s fall in July 1943, the journal briefly ceased publication but resumed on 28 September under the RSI, continuing until April 1945. During this time, it became one of the most widely circulated and openly pro-National-Socialist Italian-language newspapers. Evola’s contributions to La Vita Italiana offer a comprehensive ideological and historical critique centred on nationalism, race theory, and the political-cultural upheavals that marked Europe from the late 19th to mid-20th century. His articles explore the dual nature of nationalism, the tension between imperial unity and national particularism, and the role of the aristocracy as custodians of spiritual and cultural order. A persistent focus lies on anti-Semitic theories, including Jewish influence on communism, Freemasonry, and international revolutionary networks. Evola further examines fascism and National-Socialism, interpreting their symbols and racial doctrines in metaphysical and civilisational terms. His writings delve into European imperial legacies, the decline of culture, and the spiritual and racial disintegration of modernity, while calling for the revival of an aristocratic and imperial ethos. Additional themes include the cultural mission of Austria, critiques of bourgeois materialism, the role of intellectual élites, and a vision for a new European civilisation rooted in traditionalist and racial foundations.

‘Americanism and Bolshevism’ was published both in Nuova Antologia and Il Tevere. Nuova Antologia was a long-standing Italian literary and cultural journal founded in Florence in 1866 by Francesco Protonotari. Initially issued as a monthly, and later as a semi-monthly review, it served as a platform blending scientific and humanistic discourse with contemporary political and cultural analysis. Over time, Nuova Antologia became a respected forum for liberal and moderate-conservative thought, attracting prominent contributors such as Benedetto Croce, Giovanni Gentile, Eugenio Montale, and Luigi Einaudi. Although broadly opposed to fascism, the journal occasionally intersected with dominant ideological currents during the interwar period. It was directed at various times by notable figures including the jurist, economist, and politician Maggiorino Ferraris (1856–1929) and, briefly, Giovanni Gentile. Maintaining its intellectual prestige, Nuova Antologia continues today under the auspices of the Fondazione Spadolini Nuova Antologia as one of Italy’s most enduring and influential cultural publications.
Il Tevere was a daily fascist newspaper published in Rome from 27 December 1924 to 25 July 1943. Founded by Benito Mussolini, it was directed by Telesio Interlandi, who played a significant role in shaping its editorial stance. The newspaper was known for its aggressive support of fascist ideology and its critique of both liberal and communist ideologies. Under Interlandi’s leadership, Il Tevere positioned itself as a more combative alternative to Mussolini’s official newspaper, Il Popolo d’Italia. The publication was financed by the Roman entrepreneur Domenico Vannissanti until 1926, after which Mussolini provided direct financial support through government funds. The newspaper was characterised by its bold political stance, often attacking high-ranking fascist officials and intellectuals, including architect Marcello Piacentini and philosopher Giovanni Gentile. Notably, Interlandi had the autonomy to criticise ‘untouchable’ figures within the regime, a privilege not commonly afforded to other publications. Il Tevere was recognised for its cultural contributions, particularly its ‘third page’, which featured literary and cultural content. This section attracted contributions from prominent intellectuals of the time, such as Luigi Pirandello, Giuseppe Ungaretti, and Alberto Moravia. However, as the newspaper’s editorial line became more aligned with National-Socialist ideology, some contributors distanced themselves due to the increasingly antisemitic tone of the publication. In the mid-1930s, Il Tevere adopted a more overtly antisemitic stance, aligning with the Third Reich racial policies. The newspaper published an interview with Adolf Hitler in October 1932 and, by 1934, began featuring articles on biological racism. Its propaganda intensified in 1938, coinciding with the enactment of Italy’s racial laws. The newspaper even [is this really so questionable? I would say 'especially' in place of 'even'] suggested that films featuring Charlie Chaplin, the Ritz Brothers, and the Marx Brothers should be avoided by Italians, claiming their humour was not ‘Aryan.’ Il Tevere ceased publication on 25 July 1943, the same day Mussolini was deposed. The newspaper’s legacy is intertwined with the fascist regime’s propaganda efforts and its role in promoting antisemitic and racist ideologies.

For those interested in primary sources, the Biblioteca Nazionale Centrale di Roma offers a digital archive of Il Tevere, providing access to issues from 1924 to 1943.

Evola’s essay was substantially revised and incorporated as Chapter 16 of Part Two in the first edition of Revolt Against the Modern World (1934), and later included—further revised—in the second edition (1969).

‘Review of E. H. Bockhoff’s Völkerrecht Gegen Bolschewismus’ appeared in Bibliografia fascista: rassegna mensile del Movimento Culturale Fascista in Italia e all’Estero, a monthly journal published in Rome beginning in January 1926 by the Confederazione Fascista dei Professionisti e degli Artisti. Initially directed by the fascist politician, journalist, and writer Alessandro Pavolini (1903–1945)—who served as Minister of Popular Culture from 1939 to 1943—and subsequently by the prominent fascist intellectual, journalist, and organiser Cornelio Di Marzio (1896–1944), the journal functioned as an official organ of the fascist cultural movement. It compiled bibliographic reviews, articles, and summaries of works related to fascist ideology and intellectual life both within Italy and abroad. The journal ceased publication with the collapse of the fascist regime in 1943. In its later years, it included supplements such as Testi di ‘Bibliografia fascista’, which featured edited writings and speeches by leading fascist figures, including Mussolini. The journal was issued by Libreria de Li Horio and is referenced in bibliographic surveys such as the 1983 Inventario delle riviste del ventennio fascista (Italian Parliamentary Library), which documents 955 periodicals from the fascist era.

Between March 1934 and March 1943, Julius Evola contributed regularly to Bibliografia Fascista. During this period, he authored approximately fifty pieces, including essays of varying length as well as book reviews. These writings have been collected in Julius Evola, Esplorazioni e disamine. Gli scritti di ‘Bibliografia Fascista’ (2 vols., Edizioni all’insegna del Veltro, 1994). They may be broadly grouped into three main thematic areas: 1) historical studies, particularly on the ancient and mediaeval worlds; 2) analyses of 20th-century political doctrines and systems; and 3) themes and figures associated with the Conservative Revolution.

‘Philo-Communist Anachronisms’ appeared in La Rassegna Italiana: Politica, Letteraria e Artistica, a monthly cultural and literary review founded in 1925 and directed by the influential Italian intellectual and cultural editor Tomaso Sillani. The magazine served as a key vehicle for the dissemination of traditionalist, conservative, and at times radical right-wing ideas. Julius Evola contributed to its pages between 1933 and 1952. His writings included political and geopolitical commentary, particularly on Italian nationalism, fascist policy, and Italy’s strategic role in Europe and the Mediterranean, as well as traditionalist and conservative perspectives on Italian and European culture. Other contributions explored spirituality and religion, civilisational and historical concerns (especially the preservation of Western heritage and the legacy of antiquity and the Middle Ages), and sustained critiques of modernity, targeting liberalism, democracy, materialism, and the degeneration brought about by mass society. These writings are collected in Julius Evola, I testi de La Rassegna Italiana (Padua: Edizioni di Ar, 2001).

‘“What Is Marxism?’’, ‘The “Myth” of the Fourth Estate’, and ‘Learning From Communism’ were published in Il Meridiano d’Italia, a weekly magazine founded in February 1946 in Milan by Franco De Agazio, a journalist and writer active during the RSI. The magazine provided a platform for neo-fascist perspectives, focusing on economic, social, and legal issues in postwar Italy, aiming to involve those expelled from factories in the country’s reconstruction. It adopted a moderate and pragmatic tone, avoiding explicit fascist declarations while aligning with conservative and populist currents in Milan. De Agazio was noted for his investigative journalism on contentious topics such as the murder of Mussolini, the gold of Dongo, and partisan violence. Following De Agazio’s assassination in 1947, his nephew Franco Maria Servello assumed the directorship, continuing publication until the magazine ceased in 1952. Meridiano d’Italia remains a significant historical example of postwar neo-fascist media contributing to the political and cultural debates of the period. Julius Evola collaborated with Meridiano d’Italia from 1949 to 1958. His articles covered a broad range of themes, including critiques of modern political ideologies and the search for an ‘élite’ rooted in tradition, reflections on nationalism, corporatism, and the spiritual foundations of society. He intertwined cultural analysis with philosophy and emphasised the role of myth, history, and esoteric tradition in shaping identity and authority. Evola engaged critically with fascism, revolutionary movements, and the decadence of morality and social customs, particularly concerning sexuality and the role of women. All his contributions to this journal are collected in Julius Evola, I testi del Meridiano d’Italia (Padua: Edizioni di Ar, 2002).

‘The Great Illusion of Our Domestic Communism’ was published in the daily Roma, founded in Naples on 22 August 1862 as a patriotic voice rooted in Garibaldian and Mazzinian republican ideals, advocating for Rome as the capital of a unified Italy. Throughout the monarchy, Roma remained a prominent republican publication; by the 1930s, it operated under Banco di Napoli and later came under the ownership of shipowner Achille Lauro, who aligned the paper with right-leaning politics during the fascist period. Under Lauro’s leadership (1942–1978), Roma invested in modern printing technology, expanded its influence, and featured contributions from intellectuals such as Alfredo Signoretti, Alberto Giovannini, Piero Buscaroli, and Julius Evola. After Lauro’s death, the paper shifted towards the centre before ceasing publication in November 1990 and again in November 1993; it returned briefly in 1996 with a southern-Italian, moderate-right editorial stance. In 2013, former staff reestablished Roma as a journalist-run cooperative with a local focus, particularly on Campania and Basilicata.

‘A Dream of Arthos. Is There a “Democrat” with Backbone?’ and ‘Ideas and Politics.[: in place of period?] An Anti-Communist Manifesto’ were published in L’Italiano, a weekly literary and arts magazine founded by Leo Longanesi in January 1926 in Bologna, later relocated to Rome. Officially titled L’italiano: rivista settimanale della gente fascista, the magazine bore the motto ‘Mussolini is always right.’ Known for its traditionalist and patriotic editorial stance consonant with early fascism, it featured prominent cultural figures such as Curzio Malaparte. L’Italiano ceased publication in 1942. Longanesi, who began his career as a journalist and illustrator, was noted for his biting satire and incisive political commentary. Although he initially supported fascism—especially its early cultural-modernist phase—he remained critical of its vulgarities and mass rhetoric. His critique was subtle, indirect, and often ironic, which allowed him to exist as a somewhat tolerated dissenter within the regime’s cultural milieu. Following the fall of fascism, Longanesi founded the conservative publishing house Longanesi & C. in 1946, which became influential in postwar Italian publishing by promoting both Italian and foreign authors. He also launched the newspaper Il Borghese, which emerged as a voice of right-wing, anti-communist opinion. Known for his aphoristic style and pessimistic view of mass democracy, Longanesi sought to foster an ‘aristocracy of intelligence.’ He distrusted ideology on both the left and right, seeing liberalism and modernity as corrosive forces undermining culture and individuality. His writings, often fragmentary, combined cultural commentary with social satire.

‘The Maoist Infatuation’ was published in Il Borghese, a prominent right-wing political and cultural magazine founded in 1950 by Leo Longanesi. Named after the conservative Borghese family, the magazine symbolised entrenched conservatism. Longanesi sought to create a publication combining intellectual rigour with sharp social and political commentary. Under his leadership until 1957, Il Borghese became known for its distinctive illustrated covers and satirical tone, often critical of the ruling class. After Longanesi’s death, Mario Tedeschi and Gianna Preda transformed the magazine into a more investigative outlet focused on political corruption and societal issues. It gained a reputation for ethical campaigns and in-depth reporting, including the 1962 publication of the Dizionario del malcostume. Following Tedeschi’s death in 1993, Il Borghese ceased publication but was briefly revived in 2012 and has since appeared intermittently. Julius Evola contributed regularly to it from 1953 to 1969; his writings from this period, along with those in Totalità and La Destra, are collected in Julius Evola, I testi di Totalità, Il Borghese, La Destra (Padua: Edizioni di Ar, 2002).