The ways biblical exegesis and poetic language intersect in the works of Novarina do not so much signal an authorial intention to replicate the predicative models in search of the Sacred, as they question their foundations. Indeed, the author’s preoccupation with theological dogma and doctrines leaves his characters (thus his readers) less assured of God’s attributes, than of their inevitable reversal. In fact, the precarious linguistic and syntactic constructions in his works resemble that of an opus incertum, as opposedto an Opus magnum, the Work of God. This in turn explains the many detours, disequilibrium, and falls depicted in Novarina’s ars poetica as highly evocative of the Creator’s sublime humility (His kenosis).