Common Questions and Misconceptions

I read that Screwdrivers did not exist at the time, yet Jesus uses uses them in the Poem
This appears to be a very common misconception; one that is repeated by many Valtorta detractors. However, its popularity does not make it any less erroneous. While the screwdriver in its present form (i.e., forged metal) was not invented until a few centuries ago, nonetheless, it is common archaeological knowledge that a primitive form of the screw/screwdriver was common place in the 1st century. ¹ Furthermore, in many instances, Maria Valtorta's descriptions include qualifiers such as; "what looks like..." or "I think it is a..." (e.g., v1, p.223).

What about the claim that Mary asked to become a sinner?
This is perhaps the second most repeated argument among Valtorta detractors. In response to this, It is important to understand that the Blessed Virgin was merely a child at the time, and thus asked the question with the simplicity of a child's reasoning (which was gently corrected by her father Joachim), out of a holy desire to exeprience the forgiveness of God.

But why spend time on this, when there are so many other less controversial writings?
This is a reasonable question. And indeed, there are many wonderful works by the Saints to be read as well; writings that are not as controversial. It would be perfectly reasonable for a Catholic to choose to avoid reading the Poem thus, as no private revelation requires an assent of faith. Yet, one must consider that, if the Poem is in fact authentic, then its spiritual benefit should be obvious. Consequently, for those interested in further research, there is nothing more educational than reading the writings first-hand in order to judge for oneself the orthodoxy of its content (this recommendation also extends to Valtorta detractors as well).

Is the Poem for all Catholics, or only those more "prepared"?
It is the opinion of this author that a new Catholic (or a "less prepared" faithful) should be advised to delay reading the Poem until adequate formation is complete. One should not read Scripture without the light of the Magisterium; nor should the same be done with private revelation. This is especially so for those who; 1) lack sufficient understanding of the differences between public and private revelation. ² 2) Those who may be too dependant on emotional consolation, and as St. John of the Cross noted, fall into the error of "seeking the consolation of God rather than the God of consolation". 3) Those who do not understand the Church as a living organism that develops over time, and thus fall into the error of desiring to return to the life of the early Church, as if it is somehow purer or more authentic.

What about scientific evidence? Does any exist?
Of the Archeologists, Geologists, and Mineralogists who took the time to review the content of the Poem, the response has been unquestionably positive. Geologist and Mineralogist Dr. Vittorio Tredici notes; "I wish to underline the author's unexplainably precise knowledge of Palestine in its panoramic, topographic, geological and mineralogical aspects". Perhaps the most exhaustive research available today is by David J. Webster, who authored a thirty-one page study that fundamentally proves the authenticity of Maria Valtorta's writings. He details the accurate topographical descriptions of first century Palestine, as well as the discoveries of over 25 lost cities which have only recently been found, and yet they were listed by name in the Poem written decades ago (to view the original article in its entirety, please click here).

In addition, there also exists corroborative evidence from external sources, such as documents written by secular leaders of the time. For example, a letter from Pontius Pilate to Tiberius Caesar (a copy of this letter is in the Congressional Library in Washington, D.C.) ³ describes the physical appearance of Jesus which matches the descriptions in the Poem, including his hair color, which was somewhat lighter/golden than the average Jew of the time. This trait is further supported additional documents (such as an Interview with Gameliel ⁴), and by the Shroud of Turin. ⁵

Can a "traditional" Catholic believe in the authenticity of the Poem?
Absolutely. If the Poem is indeed authentic, then its value can be appreciated by all Catholics, whether traditional or not. Granted, many of the supporters of apparitions in general (including Maria Valtorta) tend to be more "progressive". Perhaps this is in part due to the emotional appeal of these writings, or perhaps it is due to a willingness inherent in progressive thought to embrace alleged apparitions (sometimes in the absence of careful scrutiny). Nonetheless, this does not preclude a traditional Catholic from believing in the Poem. It is wholly orthodox, and in fact promotes traditional values such as the role of the husband and the wife, children to their parents, obedience and honor to ordained ministers, reverence due to the Eucharist, etc. And while they present the life of Jesus horizontally through His human interactions, they are distinctly oriented vertically, always pointing upwards towards greater realities more sublime to human understanding, such as His majesty and magnificence as King. There is quite a profound marian component in the writings as well, which magnify and glorify some of the deeper mysteries of the faith, such as the Immaculate Conception, the Assumption, the role of Mary as Queen of Heaven and sharer in Christ's cup as Co-Redemptrix.

If Cardinal Ottaviani (who's invaluable work during the sessions of Vaitcan II as conservative watchdog helped to restrain the liberal European Bishops alliance) had read the volumes in full and did not allow himself to become polarized by the growing liberalism in the Church, he too would have seen merit of these works, and would not have tolerated the anonymous letters in L'Osservatore Romano, ⁶ one of which called the Poem a "moutain of childishness"--a most peculiar claim, since even an atheist can admit that its content is more than merely indiscernible ramblings of a delusional woman. It is a brilliantly written narrative--written in the same tradition of private revelation as Catherine Emmerich or Maria Agreda--that keeps perfect track of Jesus, Mary, and over five-hundred characters, none of whom are in the wrong place at the wrong time. In the words of Fr. Gabriel M. Roschini, who Paul VI praised for his commentary on the Poem;

"I must candidly admit that the Mariology found in Maria Valtorta's writings, whether published or not, has been for me a real discovery. No other Marian writing, not even the sum total of all the writings I have read and studied were able to give me as clear, as lively, as complete, as luminous, or as fascinating an image, both simple and sublime, of Mary, God's masterpiece."

What is L'Osservatore Romano? And why did it publish anonymous letters?
L'Osservatore Romano ("The Roman Observer") is the Vatican’s newspaper, which was founded in 1861 for apologetic reasons, and, according to the Vatican website, to be "deliberatly polemical and propagandist".⁷ In 1929, the newspaper relocated to within the premises of the Vatican, yet still operates as an independent entity. Strictly speaking, the newspaper is not authoritative in and of itself. Any authority it contains is dependent on whether it accurately reports information/events within the Roman Curia. While its purpose is objective reporting, it is nonetheless subject to the same dynamic as any lay run organization, which may or may not be influenced by the politics of the time.

Assuming the Poem is true, then how is it to be considered? Is it a 5th Gospel?
As a private revelation, the Poem may never be considered equal to Sacred Scripture or Sacred Tradition, but instead is judged in light of it. It would thus be an error to consider the Poem a kind of 4th gospel. Instead, it is more proper to consider it a commentary to Scripture; one that clarifies and enriches it (and does so in profound and vivid detail).

Some Valtorta promoters argue that nothing God reveals is insignificant, and thus conclude that private revelations should not be judged to a stricter criteria than public revelation.
Be that as it may, this argument fails to recognize a fundamental difference between public and private revelation, that is; the former is authenticated on its own merit, by virtue of it being the deposit of faith through Christ to mankind, while the latter is not. ⁷ As such, one can never have the same degree of certainty of private revelation as with public revelation. And in fact it would be imprudent to presume that we as fallible humans can judge a private revelation absolutely authentic when even the Church does not go this far in her approval of them.

What, then, is the significance of the private revelation of Maria Valtorta?
Perhaps the most effective way to answer this question is to say; read the Poem and see. One may speculate various reasons for its significance and consider various arguments, but until it is read first hand, it will remain abstract and unknown. Certainly, something of such spiritual profundity cannot be described with words, nor is it the intent of this website to do so. Perhaps it is best surmised in the words of Venerable Father Allegro;

"Regarding Valtorta's exegesis, it would be necessary to write a book; here I limit myself to reaffirming that I find no other works of eminent scripture exegetes which complete and clarify the Canonical Gospels so naturally, so spontaneously, with such liveliness as does The Poem of Valtorta."

Why does the Church sometimes act against those whom She later canonizes?
It would seem that, at times, the Holy Spirit permits such trials to happen to the Saints, perhaps as a test to their obedience and humility, or redemptive unification to the cross. When Holy Office condemned Padre Pio in 1933, removing most of his priestly functions, Padre Pio quietly accepted his cross in humble obedience (he would later be restricted again in 1961). Such an example underscores the respect due to the Church, despite the weaknesses of some men who compose it (coincidentally, pope Pius XI, who reversed the ban on Padre Pio, stated; "I have not been badly disposed toward Padre Pio, but I have been badly informed"). Similarly, Saint Faustina experienced many such trials, which did not end with her earthly passing. Her writings too were condemned by the Holy Office, yet later vindicated and canonized by Pope John Paul II. As time moves on, one can observe Church officials becoming more and more positive towards Maria Valtorta's Poem. Perhaps one day our Holy Father Pope Benedict XVI may echo the same sentiments as Pius XI. Only a full and thorough investigation will vindicate her work.

To read parts of the Poem online, you may do so at the following address; www.valtorta.org

NOTES
1. The History of the Screw according to various sources, Wikipedia [link]
2. Apparitions/Private Revelations, EWTN Expert Colon B. Donovan; [link]
3. Library of Congress, Washington D.C. [homepage]
4. Gamaliel's Interview, published in the Archko Volume [for background]
5. Holy Shround of Turin, Catholic Encyclopedia [link]
6. L'Osservatore Romano, Anonymous Letter, printed Jan. 1960, and 1961
7. Vatican Website, [link]
8. [2]
8 . Opt Cit. p.1 [see note 2]