Corpus Christi (novel)

Corpus Christi is a 1996 novel by Patrick Roth . Together with Riverside. Christ Novel (1991) and Johnny Shines or The Resurrection of the Dead (1993) he forms the Christ Trilogy (1998/2017).

overview

In an original mix of detective story, confession and mystery novel, Corpus Christi tells the story of the disciple Thomas Didymos (Greek: Thomas, the twin), known from the Gospel of John , who cannot believe in the resurrection of his Lord. Assuming that the body of Jesus has been stolen, the disciple, who is called "Judas Thomas" by Roth according to the apocryphal tradition, goes in search of the dead master and comes across Tirza, a young woman from Damascus who lives on Easter morning in the open rock tomb was picked up by Roman soldiers. Judas Thomas hopes for a trace of the supposed corpse thief - he wants to see Jesus again and touch him in order to die after him. Tirza promises Thomas to lead him to the truth. But it leads him from the external events to the exploration of his own interior. In particular, the childhood overshadowed by the death of the twin brother, whose name Thomas does not have in his own name, moves into the center of the debate.

In an interview with Tirza it becomes clear that the reason Thomas' doubts are based on a rational attitude that deeply distrusts the irrational. The climax of the dialogue in the temple is Tirza's description of her personal encounter with Jesus, which is told in the second half of the novel - a report interspersed with dreams, visions and apocalyptic scenarios that culminates in the image of an eschatological meal in which Jesus and Satan unite to sit at the table. At the end of her story of revelation, Tirza initiates Thomas into the mystery of the resurrection, which she received in the tomb of Jesus.

content

Chapters 1-3

The action begins on the third day after the crucifixion of Jesus in Jerusalem in the year 30. The disciples have frightened themselves locked in the house while the women announce the news of the empty tomb. Thomas, from whose point of view the story is told, opposes the testimony of women, as the later accounts of the apparitions of the Bible convey. He believes the corpse has been stolen and decides to find it for his own salvation. Roman soldiers tell him that the guard fell asleep on the steps of the rock tomb that night and only woke up when the dead man had disappeared. A stranger named Tirza, who was found in the grave, is under interrogation. Thomas, who is waiting in front of the barracks for the alleged corpse thief to be released, is not present when Jesus appears in the house of the disciples, John 20:19  EU . He interprets her stories of the risen Lord as guilt fantasy. The question of the reality of the resurrection leads to a break with the disciples.

Chapters 4-6

Jerusalem Temple of Herod (model), setting of the novel

Thomas becomes involved in a philosophical conversation with the torturer, a sardonic figure obsessed with cruelty. According to him, the "truth" can be extracted from the body with instruments like gold from a mine. He sees through the disciple, torn by doubts, when he tells him the news of a corpse found outside Jerusalem. The dead man who was smuggled in a caravan was on his way back to the city and was to be burned in the square in front of the barracks. Thomas collapses in a fit of fever and dizziness and wakes up indefinitely in an empty stable. He drinks water from a jug mysteriously anchored in the earth before heading back to the barracks. As if she had already been expecting him, Tirza comes up to him to walk together through the alleys of the city to the temple, to start the conversation.

Chapters 7–9

During a tour of the temple, Tirza expresses criticism of the rationalist worldview that Thomas cultivates. Accordingly, he asks Tirza to provide proof of the resurrection. However, the latter argues that adherence to empirical facts - Thomas desperately wants to see and touch the body of Jesus - blocks the possibility of the spiritual experience that Thomas is unacknowledged looking for. Thomas remembers his twin brother, who died in the womb, for whom he “made it too tight”, i. i. Choked with the umbilical cord. The brother, whom he had never known, often appeared to him while playing - he was allowed to do everything that was forbidden to him himself. He also asked the twin if he could forgive him, but never received an answer. Just as the dead twin brother had mastered his childlike imagination, so the dead Jesus had mastered the imagination of the disciples: the belief in the resurrection was ultimately an ideal that was based on repressed guilt. The news of the discovery of a corpse seems to confirm this reasoning view of things, but at the same time means the end of all hope for the existence of a world beyond transcendence.

Chapters 10-12

Staircases south side of the Jerusalem temple

Tirza reveals the finding of the body as a plot between Jews and Romans, which was forged with the intention of putting a stop to the resurrection faith of the followers of Jesus. During the inspection of a tour group by Roman soldiers on the road to Jericho, a box fell from a horse, which contained a large bale of cloth in which the body of a recently crucified Jewish man was wrapped. He has been identified as the body of Jesus. Thomas, who equates the dead with the corpse of his master, is sharply criticized by Tirza. Instead of examining reality, let him blind projection. Preconceived opinions, prejudices and thought patterns are to be given up if knowledge is to occur. It is also not up to him to find the “truth”, rather it is the other way around: “You come before it [the truth]. Only: never alive. It must be your dying. You must have died before the truth. Because she turns the dead into living ones. Discard the truth that comes to you. Because in their fire you must, you must burn. ”Tirza's account of the fate of the temple guardian Samuel ben Pharez also points to Thomas' problem of faith. Samuel was commanded in a dream to sacrifice his son, the foundling Boaz, to God. But Samuel had refused the commandment, whereupon the temple was desecrated and "earth-defiled" appears. From within the holy of holies came God's plaintive voice that the temple curtain had finally been torn in two. Samuel fell through the crack into the abyss of creation, in the depths of which the rock tomb of Jesus had become visible. The sons of Samuel, Tirza continues, recognized in their father's dream a sign of the downfall of their religion. They came up with the plan to counter the resurrection faith of the followers of Jesus. Boas had voluntarily sacrificed himself and drank the poison cup. His dead body was crucified, scourged and the side pierced to make it resemble the dead Jesus. Jakin, Samuel's natural son, then took on the task of having the forged body found by the Romans.

Chapters 13-15

Thomas, who describes the rescue operation as “machination” (DCT, 230), cannot understand that Samuel and his sons acted out of loyalty to their faith. He remembers the Last Supper and betrayal from within. The experience that “our deepest will can be broken” (DCT, 233) brought about “powerlessness” and shame in the disciples, who recognized that they were ultimately capable of evil. Tirza understands such dissolution of certainties as a necessary prerequisite for the development of self-knowledge and extols the experience of powerlessness: “Be powerless. Be at the mercy, dare. Jump in the middle, there is the beginning, and hold on. Then comes through that very middle: the river. "(DCT, 236)

Chapters 16-19

Tirza tells the story of her encounter with Jesus. It all started with the journey from Damascus to Jerusalem. In the Holy City, she was to be brought to her bridegroom, who had been promised since childhood. While the family waits on the east bank of the Jordan for the promise to be taken across the river to the city, Tirza climbs into a tree to get a better view of a preacher surrounded by people. Gaining a perspective between leaves and branches, she was suddenly struck by the gaze of that preacher, Jesus. This almost meeting of the eyes - a gaze encounter that was "cut off" at the last moment by wind-moving branches and therefore strengthened in effect - it was, as it were, that tied her to Jesus against her will for life. The following night she received a dream that promised separation from her old life. The river over which the bridegroom was to come to lead her to the wedding tore open in the middle, the banks separated and the river bed itself was broken in ever new breaks into the depths of the earth until the "square of a city" ( DCT, 246) appeared. Troubled by the dream, she climbed a hill near the night camp and overheard the secret conversation between two men. It was Jesus and Satan, the opposing sons of gods, who made a bet with one another, the object of which she recognized herself. The votes decided on their future fate. In that conversation, Satan revealed himself to be the rejected son who was hostile to man: sent by God the Father into the depths of the universe, he found his place at God's side occupied by man on his return and made the plan, henceforth everything human "Killing" consciousness (DCT, 249). Satan, who has fallen from heaven, appears in conversation with Jesus as a representative of matter who tries to seduce his opponent into sensual love for Tirza. Jesus, however, adheres to the symbolic order of love - Tirza is supposed to testify by remembering and passing on the remembered knowledge to others. What Satan tears up and scattered, so Jesus, he wants to collect and raise again.

Chapters 20-23

On the evening of the following day, what was announced occurs: While Tirza is drawing water in the Jordan, a demonic man approaches to "tear her to pieces". Looking back, she describes how Satan physically killed her by hitting her with a stone in order to penetrate her in a second step in search of traces of human consciousness. Plunging into the depths of space, she found herself being blown to pieces by an ominous box, while the eye of the "killer" (DCT, 257) followed her through space and time. Its disintegration in the infinity of space is followed by reassembly. Tirza describes this process as reading in its scattered parts by a numinous “voice hand” (DCT, 261). The composition takes place as a cosmogonic act in a cave by the river, which is also the grave of the deceased. Tirza's resurrection takes place, as described in the biblical revival scenarios, through invocation and the laying on of hands. Awakened anew, the awakened must watch over her awakening, who falls asleep exhausted by the fire under her care. Before Jesus sets off the following morning, he reveals to Tirza the appointment with Satan as the reason for her death and her resurrection and initiates her in the order to be “remembered” and “to bring the divided together” (DCT, 266).

Chapters 24-28

Thomas cannot readily believe Tirza's revelation; he fears “deceptions” and demands visible signs of what has happened to her. Tirza, in turn, asks Thomas to “behind the track” and behind the “writing”, i.e. H. to come to one's own in order to find the truth (DCT, 273 f.) In the course of her report, she tells of her search for Jesus and the desire to die after him. It was on the "preparation day", the day of the Sabbath , on which she entered Jerusalem through the Gennath Gate. On a hill near the city wall, she saw three executed on crosses hanging against the setting sun. It was the soldier's stab in the side of one of the crucified that made her realize that the man in the middle was the one she was looking for, Jesus. Desperate, she decided to secretly follow the women to the grave, to let herself be secretly locked up with the dead woman - in the desire to stay with him and endure his death. In the burial chamber she slipped into an empty shaft grave, from where she observed the anointing and burial of Jesus. Left alone in the grave, she approached the dead man in the trough grave, lifted the linen cloth, to take a look at the corpse. What she initially perceived as a starry cosmos were the torture marks on a body littered with wounds. In shock at what she saw, she began to scrape up the earth on the floor in order to form figures out of the wet clay like a child.

Chapters 29-30

Tirza tells that she woke up in the grave from a fearful dream before a vision overwhelmed her: At the side of Jesus in the grave, she saw herself lying at the gates of a city, Satan, who had been summoned from the dark, stabbing her with a knife. Tirza, who sees herself in the role of murderer and victim at the same time, relives her death, which she observes from outside at the same time. She follows how Satan knocks on the city gate. When nobody opens it for him, he takes his eye to use it on Tirza. Driving as a column of smoke behind the gates of the city, she sees for her murderer what is happening behind the walls. The city under light, an image for the heavenly Jerusalem, houses a messianic meal - the “Feast at the End of Times”, at which “the haters and the hated, the murderers and the murdered” (DCT, 292) are gathered. Tirza recognizes himself sitting at the table among them when Satan is granted entry: From the midst of the meal community, the “Lord of the Feast”, Jesus, approaches Satan and takes him in his arms. The festival community and the resulting unification of the greatest contradictions correspond to the idea of ​​an apokatastasis panton , the final return and bringing home of all sinners and lost up to Satan. The light streaming from that embrace breaks the walls of the city and the order that has existed up to now. From the collected parts Jesus creates the new world and the new man. Tirza announces the “beginning”: “Because he stood before me. The Risen. And I woke up. ”(DCT, 294) Finally, Tirza describes her arrest in the grave. Through the soldiers she found Thomas in order to fulfill her task of remembering and handing down. As a witness of the resurrection, she advises him to assimilate what has been handed down and to come to terms with himself: “Eat what I have given you. Eat your own. Dare to go out and collect the lost to the utmost. That you will be united. Because what you lack inside is ashes burned and earthly. "(DCT, 295)

Chapters 31-33

Thomas wakes up on the floor in the stable, the fever is over. Strengthened and disturbed at the same time, he sets out. He thinks he recognizes Tirza in the busy streets of the city. Like Tirza, the woman has a water jug ​​with her; the man she falls into may be the found bridegroom. A crowd of people streaming into the square in front of the barracks pulls Thomas with him. In the midst of the turmoil, he meets an old man who asks his forgiveness. It is the temple guardian Ben Pharez who recognizes Thomas as his sacrificed son. Thomas gives the old man “the answer for his brother” (DCT, 303), which he never heard himself. A funeral pyre has been erected in the square in front of the barracks, soldiers carry up the body and light the fire. Thomas abandons himself to his desire to find certainty and to touch the corpse. He climbed the “wooden cuboid” (DCT, 306); enveloped in smoke and flames, he pulls the cloth from the face of the man in front of him and recognizes himself in the dead. At the moment of recognition he realizes that old Samuel saw him as the boaz: Thomas' twin and brother, of whose death he believed himself guilty for life. Thomas now knows that Tirza existed and spoke true: the resurrection is real.

Design and structure

Corpus Christi is a dialogue novel in 33 chapters, which is composed according to the principle of the frame story . The introductory framework (chapters 1-5) introduces the scene - Jerusalem on the third day after the crucifixion - and presents the protagonist, Judas Thomas, who goes in search of the body of his master. The opening frame (chapters 31–33) shows Thomas on the fifth day after the crucifixion in the gears of the city on the way to the cremation on the square in front of the barracks. The threads of the plot come together at the stake and Thomas receives the answer he was looking for.

The middle section (chapters 6–30) takes place on the fourth day after the crucifixion and is designed as a conversation between Thomas and Tirza that develops as they tour the temple sanctuary. It is retrospectively characterized as an inner (dream) event, insofar as Thomas falls into a feverish sleep in chapter 5, from which he wakes up in chapter 31. The knowledge transmitted by the inner figure Tirza turns out to be coherent and true in external reality. Further narratives are incorporated into the internal narrative, e.g. B. the story of the temple caretaker ben Pharez, in which a dream story is again inserted. This staggering of the narrative levels, which leads further and further away from the outer world of consciousness and characterizes Tirza's revelation narrative, follows the principle of metadiegetic narration and at the same time corresponds to the narrated content: the initiation of the protagonist into the mystery of the resurrection.

According to Roth's dissolve theory, the novel interconnects the sensual, concrete external world with the world of the unconscious, so that the areas that are strictly separated from one another in everyday consciousness appear connected in certain respects. The ingenious interlacing of the narrative levels as well as the occurrence of individual props (water jug ​​and cloak of Tirza) in both spheres ensure the intertwining of outer and inner reality; these symbolically charged motifs serve as bridges between the worlds of consciousness and the unconscious.

Take and read (lat. Great lege); Augustine reading Paul's letter

The first-person narrative voice of Judas Thomas, which disappears in the middle part behind Thomas's dialogue voice, comes to the fore at the end of the novel, in the last word “Here”, as a scribe. The story told is a multi-layered, retrospectively written experience report that addresses Jesus as a familiar counterpart. First-person narrative form and intimate address are characteristics of the literary form of confession in the tradition of antiquity. Some motifs from the childhood story of Judas Thomas also refer to the Confession of St. Augustine : z. For example, the episode with the twin in the garden alludes to Augustine's conversion, which also took place under a fig tree.

swell

Biblical and apocryphal writings entered the novel; next to the Thomas story of John's Gospel ( Jn 20.24 to 29  EU ) there are elements of the Apostle Thomas attributed Gospel of Thomas , the special also with Roth to the receiver revelations is. There are also references to the Jewish legend (e.g. in the fictional parable of the sent out eye or the story of the messianic banquet) and the writings of Gnosticism . The knowledge-oriented attitude of the Thomas figure and the mediator figure of Tirza, who lead the protagonist into the mysteries of Christianity, are genuinely Gnostic ideas. Tirza acts in the role of a Sophia , who guides the hero spiritually, opens up heavenly spaces for him and at the same time bears traits of the beloved woman.

The movie's influence is not quite as evident in Corpus Christi as it is in Riverside and Johnny Shines , and yet there is a (though obscure) quote from this novel. For example, the revival scene in chapter 22, which shows Jesus in the role of the impotent Son of God who collapses after the revival, is inspired by a famous film, Red Beard (1965). Akira Kurosawa's masterpiece about an arrogant young doctor who heals a traumatized girl by getting help from the sick contains the underlying pattern of the powerless healer, whose own weakness makes the actually weak grow stronger.

Aspects of Interpretation

In his analysis of the novel, Gerhard Kaiser emphasizes the new constellation of traditional images and ideas of Christianity. He diagnoses “productive worries” that are evoked in the reader, not least because of the linguistic power of the narrative access. "In any case, Patrick Roth's power and originality of mythical and metaphorical speech seems to me to be unique in the German epic of our time." The sequence of images, visions, and dream images achieve a "fascinating and disconcerting effect, especially since biblical motifs and figures are often independently, even idiosyncratic, extended, shortened and turned against their original meaning. And yet, or precisely because of this, biblical scenes [...] often appear which, in new contexts, achieve an eminent power and urgency of religious evocation that can hardly be compared literarily with anything else. "

The artificial linguistic character contributes significantly to this effect - a strongly stylized expressive ductus that works with archaisms as well as colloquial language, and also with neologisms and numerous word or word stem repetitions: "This language wants to be its own language because it expresses its own world, which is unusually far removed from today's common agreements on reality and its criteria. "

Corpus Christi cannot be exhausted in its wealth of meaning , the reader has to expose himself to a crisis-ridden process that penetrates into new layers of the text with each repetition and interpretative reflection without ever being able to fathom it. The semantic charge of the images and motifs sets an endless play of references and meaning in motion, which continuously swirls the linear courses. "If the interpretation wanted to pursue these smallest elements meticulously and comprehensively, it would have to be more detailed than the poetic text itself, because numerous explanations and back and forth references would be necessary."

The focus of Michaela Kopp-Marx's interpretation is the Thomas figure, which is read as the representative of the modern subject who stands between faith and science. As the personification of doubt, Roth's Thomas embodies the fundamental conflict between science and transcendence, which has been virulent since modern times and reached its first climax in the belief in science of the 19th century and is still acute today. Nietzsche had the "death of God" proclaimed by his "great person" on the market square. "God is dead! God stays dead! And we killed him! How do we console ourselves, the murderers of all murderers? The holiest and most powerful thing the world has ever had, it has bled to death under our knives. "

In the guise of the biblical doubter, Thomas is a modern empiricist and representative of reason, “whose motto is: 'I have to be able to examine the truth', at the same time he longs for the religious aspect of life, which he cannot penetrate due to his rational attitude . [...] Since the divine can neither be proven nor experienced with arguments of logic and causality, Tirza demands 'the end of all security'. The seeker Thomas, if he wants to find the truth, has to go beyond the evidence of appearance to a personal religious experience. "

The way out of the crisis is thus laid out in the Tirza figure - in her dual function as witness of the resurrection and soul guide, she points to the way inward. "As a questioner and seeker, Thomas is a representative of the modern individual who has to experience himself in order to be able to believe."

reception

When it appeared in 1996, the novel sparked contradicting reactions in the feature pages; The spectrum ranges from pure polemics to enthusiastic approval. Hermann Kurzke already criticized the external plot of the novel as erratic and unmotivated; In the protagonist's path of knowledge he sees the sacrifice of reason at work: “To lose oneself completely in order to be completely free, that is good Christian tradition. Hopping on the stake to finally get rid of your questioning self is the somersault of irrationalism, which confuses humility with stupidity. "

Making the resurrection of Jesus the subject of today's novel shows courage and literary skill, according to the Frankfurter Rundschau - there is a great risk of sliding into religious kitsch. Patrick Roth avoids this trap by highlighting the criminalistic content of the biblical Thomas story and constructing a case that leads the “detective” Thomas to a mysterious woman who reveals to him what he is looking for in a roundabout way: “The dialogue with Tirza in the temple does that Main part of the book. It has elements of psychoanalysis, elements of Socratic questions and, overall, a form that only Edgar Hilsenrath can master in contemporary German literature. In the end, Thomas finds the Corpus Christi - and himself at the stake. The thriller surprisingly dissolves, but above all the story loosens. Dissolution and redemption are experienced by those who do not want to believe. What Roth is doing there is megalomaniac and touches the blasphemous in all innocence. "

The fact that Corpus Christi replaces the statement of faith with the radically subjective path of knowledge elevates the novel, according to the voices of the time , to a “psychodrama” in which the “crime-like plot” increasingly turns out to be a “therapeutic process, even a mystagogical event”. “With realistic scenes, with symbolic and allegorical dream images, Patrick Roth approached the inexpressible with expressible words. [He] tells the mystical resurrection in this life [….]. In this unheard-of narrative she appears again aesthetically, that is, as a figure of expression and perception. Patrick Roth staged the most monstrous resurrection story ever written in German from a contemporary consciousness. "

expenditure

• Patrick Roth: Corpus Christi. Suhrkamp, ​​Frankfurt a. M. 1996, ISBN 3-518-40749-X . (Hardback edition)
• Patrick Roth: Corpus Christi . Suhrkamp, ​​Frankfurt a. M. 1999, ISBN 3-518-39564-5 . (Paperback)
• Patrick Roth: The Christ Trilogy. Riverside. Johnny Shines or The Raising of the Dead. Corpus Christi. Three novels and a CD: Patrick Roth, The LA Reading . Suhrkamp, ​​Frankfurt a. M. 1998, ISBN 978-3-518-06546-4 . (Bound in cassette)
• Patrick Roth: Resurrection. The Christ Trilogy. 3 novels in cassette with audio cassette The LA reading . Suhrkamp, ​​Frankfurt a. M. 2003, ISBN 978-3-518-39957-6 . (Paperback edition)
• Patrick Roth: The Christ Trilogy. Riverside. Johnny Shines or The Raising of the Dead. Corpus Christi. Annotated edition. Edited and commented by Michaela Kopp-Marx . Wallstein, Göttingen 2017, ISBN 978-3-8353-3065-8 .

literature

• Gerhard Kaiser: Resurrection. The Christ Trilogy by Patrick Roth. The killer will be the redeemer . A. Francke, Tübingen, Basel 2008, ISBN 978-3-7720-8267-2 , p. 15-64 .
• Michaela Kopp-Marx : Soul Dialogues. A commentary track on Patrick Roth's Christ Trilogy . Königshausen & Neumann, Würzburg 2013, ISBN 978-3-8260-4864-7 , p. 9-112 .
• Michaela Kopp-Marx : "Lost and caught up, sown and died". Patrick Roth's individuation is illustrated by the "Christ Trilogy" . In: Michaela Kopp-Marx, Georg Langenhorst (Hrsg.): The rediscovery of the Bible with Patrick Roth. From the “Christ Trilogy” to “SUNRISE. The Book of Joseph ” . Wallstein, Göttingen 2014, ISBN 978-3-8353-1452-8 , pp. 69-101 .

Web links

• Patrick Roth: The Christ Trilogy, LA Reading: Riverside. Johnny Shines. Corpus Christi

Individual evidence

1. ↑ Patrick Roth: The Christ Trilogy. Annotated edition. Edited and commented by Michaela Kopp-Marx . Göttingen: Wallstein, p. 221. In the following, Sigle DCT u. Page number.
2. ↑ Patrick Roth: Into the valley of shadows. Frankfurter Poetikvorlesungen , Frankfurt 2002, p. 43 ff.
3. ↑ Patrick Roth: The Christ Trilogy. Annotated edition , Commentary, p. 427 f.
4. ↑ On the numerous references of the novel to biblical and extra-biblical, ancient ideas cf. the comment in: Patrick Roth: The Christ Trilogy. Annotated edition , p. 409 f.
5. ↑ Cf. Patrick Roth: The Christ Trilogy. Annotated edition , p. 445.
6. ^ Gerhard Kaiser: Resurrection. The Christ Trilogy by Patrick Roth , Tübingen: Narr, Francke, 2008, p. 134
7. ^ Gerhard Kaiser: Resurrection. The Christ Trilogy by Patrick Roth , p. 133
8. ^ Gerhard Kaiser: Resurrection. The Christ Trilogy by Patrick Roth , p. 132
9. ^ Gerhard Kaiser: Resurrection. The Christ Trilogy by Patrick Roth , p. 128
10. ^ Friedrich Nietzsche: Fröhliche Wissenschaft , in: ders. Critical study edition. Edited by G. Colli and M. Montinari, Munich, Berlin-New York 1980, Vol. 9, p. 632
11. ↑ Patrick Roth: The Christ Trilogy. Annotated edition , Commentary, p. 406
12. ↑ Michaela Kopp-Marx: "Lost and caught up, sown and died". Individuation with Patrick Roth is illustrated by the "Christ Trilogy", in: dies., Georg Langenhorst (Hrsg.): The rediscovery of the Bible with Patrick Roth. From the Christ Trilogy to Sunrise. The book Joseph , Göttingen 2014, pp. 69-101, p. 94
13. ↑ Hermann Kurzke: Save the disbelief. Patrick Roth finds the risen One, but who can take it from him? , in: Frankfurter Allgemeine Zeitung , April 6, 1996
14. ^ Karlheinz Götze: parallel action on the body of the Lord. Patrick Roth's New Testament thriller "Corpus Christi" , in: Frankfurter Rundschau , June 1, 1996
15. ↑ Paul Konrad Kurz: The Resurrection as Psychodrama , in: Voices of Time , Vol. 214/1996