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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.     
Â
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.     
Â
Heir to the FIBA button factory in Lombardy, Augustus is profiting
from Italy’s postwar industrial boom. Yet the dreamy young man is
far from your stereotypical industrialist. He is less interested in
making money than in talking to the birds in the surrounding garden
and in making love to a beautiful factory worker named Palmira. But
when the money-hungry Palmira schemes to have him
institutionalized, Augustus finds a new love among his fellow
mental patients: flute-playing flower child Serafina. Can Augustus
and Serafina find a way to break free and express their love of
each other and of nature in this crazy world?  Newly
translated into English, Giuseppe Berto’s charming 1973
novel Oh, Serafina! was one of the first works of
Italian literature to deal with ecological themes while also
questioning the destructive effects of industrial capitalism, the
many forms spirituality might take, and the ways our society
defines madness. This translation includes a foreword from literary
scholar Matteo Gilebbi that provides biographical, historical, and
philosophical context for appreciating this whimsical fable of
ecology, lunacy, and love. Â
Heir to the FIBA button factory in Lombardy, Augustus is profiting
from Italy’s postwar industrial boom. Yet the dreamy young man is
far from your stereotypical industrialist. He is less interested in
making money than in talking to the birds in the surrounding garden
and in making love to a beautiful factory worker named Palmira. But
when the money-hungry Palmira schemes to have him
institutionalized, Augustus finds a new love among his fellow
mental patients: flute-playing flower child Serafina. Can Augustus
and Serafina find a way to break free and express their love of
each other and of nature in this crazy world?  Newly
translated into English, Giuseppe Berto’s charming 1973
novel Oh, Serafina! was one of the first works of
Italian literature to deal with ecological themes while also
questioning the destructive effects of industrial capitalism, the
many forms spirituality might take, and the ways our society
defines madness. This translation includes a foreword from literary
scholar Matteo Gilebbi that provides biographical, historical, and
philosophical context for appreciating this whimsical fable of
ecology, lunacy, and love. Â
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