Glory (La gloria) is Giuseppe Berto’s testamentary novel. The first-person narration of the Gospel in the voice of Judas Iscariot constitutes Berto’s closing argument in a life-long debate with Christianity. His interpretation of the gospel story is certainly unconventional, even oppositional. Rather than a rejection of the Christian faith in which he was raised and educated, however, Berto fashions an alternative account to the four canonical gospels that ultimately constructs a competing view of the human condition and of humanity’s prospects for redemption. In Berto’s parodic rendition of the Christian gospel, Judas, after a lifetime of tormented interrogation, decides to embrace the ambiguity of the human condition, which is, as he describes it, a liminal existence played out over a long and trying transition of unknown and unknowable duration, between the original paradise of the Garden of Eden and the final redemption at the end of days—a period otherwise known as history.       

Glory (La gloria) is Giuseppe Berto’s testamentary novel. The first-person narration of the Gospel in the voice of Judas Iscariot constitutes Berto’s closing argument in a life-long debate with Christianity. His interpretation of the gospel story is certainly unconventional, even oppositional. Rather than a rejection of the Christian faith in which he was raised and educated, however, Berto fashions an alternative account to the four canonical gospels that ultimately constructs a competing view of the human condition and of humanity’s prospects for redemption. In Berto’s parodic rendition of the Christian gospel, Judas, after a lifetime of tormented interrogation, decides to embrace the ambiguity of the human condition, which is, as he describes it, a liminal existence played out over a long and trying transition of unknown and unknowable duration, between the original paradise of the Garden of Eden and the final redemption at the end of days—a period otherwise known as history.       

St. Francis of Assisi (c. 1181-1226) and Jacopone da Todi (c.1236-1306) were but two exemplars of a rich school of mystical poets writing in Umbria in the Franciscan religious tradition. Their powerful creations form a significant corpus of medieval Italian vernacular poetry only now being fully explored.Drawing on a wide range of literary, historical, linguistic, and anthropological approaches, Vettori crafts an innovative portrait of the artists as legends and as poets. He investigates the essential features of emerging Franciscan tradition, in motifs of the body, metaphors of matrimony, and musical harmony. Vettori also explores the relationship of Francis's poetic mission to Genesis, the relationship between erotic love and ecstatic union in both poets' work, and the poetics of the sermon.