The acceptance of a Cause for Beatification is a matter of public record, and should not have to rely on "he said he said they said".
In my opinion she was a false prophet and THE POEM OF THE MAN-GOD is best used for kindling:
Here is an interesting article about her:
jloughnan.tripod.com/valtmies.htmEXTRACTS
Sometime after April of 1947, a bound copy of this manuscript was sent to Pope Pius XII via the papal confessor. The Pope received Fr. Migliorini and two other Servites in a special audience on February 26, 1948. His polite murmurs about the Poem reportedly included the phrase "publish this work as it is" which the Servites afterwards remembered and interpreted as a "Supreme Pontifical Imprimatur" This alleged oral imprimatur is the only one the publishers of the Poem have ever received --or sought.
Although a pope could in theory grant such an imprimatur and even do it orally, no one has produced a modern instance of this. Surely, so meticulous a man as Pius XII would have made his intentions perfectly clear and not left his words to be construed after the fact by interested parties.
It is impossible to determine how much of the Poem Pius XII actually read. But given his crushing burdens leading the postwar Church and the many crises he had to face while the Iron Curtain thundered down, how much time could the pope possibly have devoted to reading and evaluating thousands of pages of manuscript? The job is flatly impossible in the time available.
After a harsh rejection at the Vatican press, the Poem was released by Italian publisher Emilio Pisani. On December 16, 1959 the Poem was condemned by the Holy Office, then headed by Cardinal Alfredo Ottaviani. Osservatore Romano printed this decree on January 6, 1960 accompanied by a hostile unsigned review of the Poem entitled "A Life of Jesus Badly Novelized."
Valtorta's defenders try to blame this and subsequent censures on a secret "Modernist clan" within the Holy Office. They offer no evidence of how "Modernists" could operate undetected by the strictly orthodox Ottaviani nor why Modernist and other anti-Catholic books continued to appear on the Index, 1948-60.
Moreover, as Ottaviani's successor Cardinal Joseph Ratzinger [REMIND ME WHAT HE'S DOING THESE DAYS?] has declared, the 1966 abolition of The Index of Forbidden Books in no way sanitizes previously banned works, including the Poem. In 1994, Ratzinger's office issued another statement through the apostolic nuncio in Canada reiterating its judgment that Valtorta's works are simply fiction: "These writings cannot be recognized as being of supernatural origin." (The Poem's English edition has been distributed from Canada since 1986 by Editions Paulines of Sherbrooke, Quebec.)
Valtorta's supporters remain adamant. Denying the normal delegation of responsibility within the Church, they will accept nothing less than a personal decision by Pope John Paul II--which he will always be too busy to make...
"There is nothing of my own in this work," insisted Valtorta. (I: p. 57) She claimed to be Christ's own secretary, his "Little John," chosen to expand what the Apostle St. John and other evangelists wrote. As Jesus himself explains, the New Testament needs to be supplemented (I: p. 432) because of the evangelists' "unbreakable Jewish frame of mind". Their "flowery and pompous" Hebrew style kept them from writing everything that God wished. (V: p. 947)
The heterodoxy and objective falsity of these statements should have sufficed to discredit the Poem. Not only do the Gospels suffice for our salvation, their language is simple and concrete. At least three of them were composed in Greek, one by an ethnic Greek. Nevertheless, Jesus denounces future critics of the Poem who dare to search for mistakes "in this work of divine bounty." (V: p. 751-52)
The Poem also presumes to "correct" the received text of Scripture. Valtorta's reading of John 2:4 adds a novel "still" to Christ's remark concerning the wine at Cana: thereby making it a comment on their own relationship: "Woman, what is there still between me and you?" (I: pp. 283-84) But her reading has no basis in the Vulgate or in any translation into a modern vernacular from the original Greek. The Poem tries to place itself about the Bible and "Little John" beyond criticism.
Despite claims of originating entirely in heaven, the Poem somehow incorporates legendary material from the Apocrypha (including The Acts of St. Paul and Thecla), The Golden Legend, The Meditations of Pseudo-Bonaventure, the revelations of St. Birgitta, bits of Patristics, and classroom memories. Valtorta is at odds with Mary of Agreda and Anne Catherine Emmerich in chronology, familial relationships, and details of key events such as the Passion and Assumption. For instance, Mary lives and dies in Jerusalem, not Ephesus.
What Valtorta knows about first century Palestine and Jerusalem seems to come from maps and study aids commonly bound in Bibles. Her visuals recall soft, gilt-touched Italian holy cards and her metaphors are monotonously limited to flowers and jewels, with the occasional animal reference. She is amazingly ignorant of local conditions and Jewish customs. Her houses resemble Italian farmhouses with fireplaces, porches, and kitchen gardens. The rich enjoy jasmine pergolas and hedged gardens closed with iron gates. The countryside holds apple orchards (which are always in bloom whatever the season), fields of rye, stands of cactus and agave. People frequently eat apples and drink fresh milk, even honey-water, but wine is scarcely seen. The screwdriver and the iron horseshoe are in use. But none of the above was known in ancient Palestine.
Valtorta acknowledges her confusion about the layout of the Temple, but still erroneously pictures it as having multiple gilded domes, angel-headed capitals, and a choir of maidens. Not only does Jesus have a bar mitzvah, a ceremony which did not yet exist, everything described is false, even to the name of the Bible book he reads as a "test." The name Jehovah, unknown in antiquity, is freely used for God although to speak the Divine Name was a punishable offense among Jews.
Throughout the Poem, Valtorta prefers her visions to the information that historians, archaeologists. and Scripture scholars have uncovered.
But Valtorta's anachronisms are not nearly as objectionable as her distorted characterizations of Jesus and Mary. They are, of course, fair-haired, blue-eyed, and alabaster-skinned quite unlike the swarthy Jews around them. Because a pale complexion signifies holiness, Mary Magdalene and John are also fair while Judas is dark.
Our Lord is a ranting, hypersensitive Mama's boy whose stripped body "looks like a delicate lady." (V: p. 564) (His last word on the Cross is, in fact, "Mother." (V: 620) Jesus must exercise supreme will power to restrain his aversion toward sinful mankind: "My first contacts with the world had sickened and depressed me." (I: p. 432) He would rather touch a corpse than an impure person. "I feel such disgust for lewdness that it upsets me." (I p. 695-96) "... He never laughs." (I: p.282) (italics hers) He also demonstrates his sublime purity to a prostitute by trampling a "lascivious" caterpillar underfoot. (IV: p.785)
Mastering these sensitive feelings, Jesus is ready to provide fresh Paschal blood by breaking off his "magnificent, wholesome, pure virility. (V: p. 390) Openly proclaiming his Divinity and Messiahship, Christ baptizes his Apostles with kisses and preaches every doctrine in the catechism to followers who are already called "Christians," despite Biblical testimony to the contrary.
Mary, whom Jesus calls "the Second-Born of the Father," (I:7) and "second to Peter with regard to ecclesiastical hierarchy" (IV: 240) preens over her unique exemption from "the torture of generating." (I: 115). After the Crucifixion, she rages in morbid hysteria with incestuous overtones (V: 630-59). The grieving Virgin proclaims her hatred of men, who are likened to wolves, snakes, and hyenas. "Man disgusts and frightens me." (V: p. 640) Yet in the next day's dictation Jesus praises the Sorrowful Mother's forbearance and forgiveness (V: 670), evidence that Valtorta really could not recall what she had written.
The Poem titillates with several invented subplots of "delicate" maidens barely escaping the Fate Worse Than Death. Its tasteless moments include Herod trying to tempt captive Jesus with his lascivious African dancing girls who "touch Christ lightly with their nude bodies." (V: p. 562) Despite the homoerotic flavor of Christ s frequent kisses, cuddles, and caresses off his disciples, Valtorta has an almost Gnostic loathing of sexuality. She claims that unfallen humanity would have reproduced asexually. The Primal Sin was Eve s perverse dalliance with the serpent followed by intercourse with Adam. (I: p. 83) Now sexual satisfaction is " bread made with ashes and excrement." (I: p. 665) Jesus absurdly claims that animals mate soberly, only for the sake of offspring. (I: p. 30) Can the Man-God be unfamiliar with male dogs?
But Valtorta s worst fault is her savage anti-Semitism, both religious and racial, that weaves through the entire Poem. Contrasted with Roman soldiers, Valtorta's swarthy, stinking, big-nosed cowards are stereotypes straight out of The Eternal Jew. Jewish corpses are "so many snakes the less." (V: p. 623) The Blessed Virgin rages that Rome was right to fear this "tribe of killers." (V: p. 642). One fictitious Jewish character converts because "the cult of Israel has become Satanism." (V: p. 673) The confrontation between Pilate and the Sanhedrin delegation is an embarrassing exercise in vulgar comedy with Pilate sniffing a flower to ward off the stench of Jews. (V: pp. 557 ff)
Most distressing of all, Valtorta makes Jews Deicides. Aside from Christ s followers, "the whole Jewish people gathering in Jerusalem wanted his death." (V: p. 293). The whole city pours out to jeer at Jesus. The Roman soldiers try to minimize his sufferings, but executioners with the "clear Jewish profile" (V: p. 563) scourge the Savior and nail him up . Christ's plea "Father, forgive them, for they know not what they do," is directed at the squabbling thieves, not to his thousands of Jewish persecutors." Therefore, the Risen Christ explains, God has withdrawn from Jewish rites and Judaism is "dead forever." Her rituals are nothing but :gestures that any historian could mime on the stage and amphitheater. (V: p. 831) She scorns Jerusalem as the site where the synagogue received the libel of repudiation from God for its many horrible crimes. (V: p. 869) To have written such things while fires blazed in Auchwitz is sheer obscenity. Valtorta is a one-woman argument for Nostrae aetate, the Vatican II decree that condemned the notion of collective Jewish guilt. These are only a small sample of Valtorta's many and pervasive errors. "Childishness, fantasy, false history and exegesis" make the Poem exactly what an unnamed writer cited by Cardinal Ratzinger said it was: " a monument to pseudo-religiosity." *** The popularity of this deeply evil book says that Catholics can't read what's in front of their eyes if the work has been presented to them as "holy."
END
jloughnan.tripod.com/robins_valtorta.htmwww.ewtn.com/library/scriptur/valtorta.txtEXTRACT
Cardinal Joseph Ratzinger, present head of the Sacred Congregation for the
Doctrine of the Faith (formerly the same office that condemned the
"Poem"), informed Cardinal Siri in 1985 of the "Poem's condemnation:
After the dissolution of the Index, when some people thought the printing
and distribution of the work was permitted, they were reminded again in
L'Osservatore Romano (June 15, 1966) that "The Index retains its moral
force despite its dissolution."
More recently (April 17, 1993, Prot. N. 144/58i), he wrote:
"The 'visions' and 'dictations' referred to in the work, "The Poem of the
Man-God," are simply the literary forms used by the author to narrate in
her own way the life of Jesus. They cannot be considered supernatural in
origin."
The best that can be said for "The Poem of the Man-God" is that it is a
bad novel. This was summed up in the L'Osservatore Romano headline, which
called the book "A Badly Fictionalized Life of Jesus."
At worst, "Poem's" impact is more serious. Though many people claim that
"Poem" helps their faith or their return to reading Scripture, they are
still being disobedient to the Church's decisions regarding the reading of
"Poem." How can such disregard for Church authority and wisdom be a help
in renewing the Church in these difficult times?
When Catholics insist on reading "Poem," despite Church condemnation, I
make these requests: First, read three hours of Scripture for every one
hour spent in the "Poem." The Church guarantees that the Bible is God's
Word, inspired by the Holy Spirit. The Church has judged the "Poem" to be
a poorly done human work. Second, read solid Catholic theology books in
addition to Scripture. G.K. Chesterton, Frank Sheed, Archbishop Sheen's
"Life of Christ" and many other works are excellent starts. Third,
maintain a strong prayer life, drawing closer to Christ Jesus, Our Lord,
at Mass and at eucharistic adoration, and to our Blessed Mother Mary,
especially in the Rosary.
If sheep insist on bad pasturage, at least let them take antidotes.
This article appeared in February 1994 edition of "New Covenant"
END