Johnny Shines or The Raising of the Dead

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Johnny Shines or The Resurrection of the Dead is the second prose work by Patrick Roth from 1993. The novel forms together with Riverside. Christusnovelle (1991) and Corpus Christi (1996) the second part of the Christ Trilogy .

overview

The book, which is designed as a "soul speech", unfolds the story of 37-year-old Johnny Shines, who roamed the villages of California's Mojave Desert as a modern revival in the early 1990s . He appears at funerals, pushes himself to the grave, breaks open the coffin and orders the dead, referring to Jesus (Mt 10: 8), to get up. The background and origin of the obsession become the subject of the nocturnal dialogue with an unknown woman. She speaks as a female voice to the sleeping hero, with the declared aim of bringing the secret of the Johnny Shines to light.

content

Chapter 1–2

The novel is set in the Mojave Desert in southeastern California.

The setting is the fictional Blade, which is settled in a dry river bed in the Mojave Desert in the western United States. Late in the evening of December 21, 1992, the homeless Johnny Shines returned to his home village, which he had left after the tragic death of his sister. On Main Street, which is brightly lit by the headlights of a film crew, Johnny, who appears exhausted, grabs the feet of a strange young woman and collapses unconscious. On the morning of the following day he declares himself the murderer of a woman named Hallie Doniphan, whom he claims to have brutally murdered the night before. Hours later he corrects the statement to the effect that he did not actually kill the woman, but rather found himself in a kind of waking dream. He came to Blade because of that Hallie Doniphan, in order to bring to life another woman who had died in the village on her behalf.

Chapters 3–5

While the police are looking for traces of a crime in the desert, an anonymous female voice approaches the suspect sleeping in his cell to open a dialogue with him. She wants to find the truth about Johnny and discover the reason for his obsession with raising the dead. At the beginning of the conversation, she reminds him of a recent dream in which a voice screamed that a woman should be "brought back to life". Johnny is reluctant to talk about his experiences as a resuscitator; He justifies his mission with the command of Jesus to be sent to the disciples, the Bible verse “Heal the sick, raise the dead, cleanse the lepers.” Mt 10.8  EU .

The lifelong fear of being “ambushed” one day and falling victim to a fateful deed is illustrated by Johnny with a Jesus story called “The Lions' Den”, which his father, a pastor, himself and little sister Sharon used to tell . At the age of thirteen, Jesus was abducted from his parents 'home by three kings and a fourth, who had settled in Nazareth before Jesus was born , and thrown into an abandoned lions' den in the desert. Over the years, Johnny has fantasized about the obscure fourth king with the uncanny foreknowledge as the personification of a dark, hostile fate that thwarted his own life. When his interlocutor asked whether he could raise the dead, Johnny replied with a comprehensive description of the previous day's events in Shinbone.

Chapters 5-6

On the morning of December 21, 1992, Johnny had entered Shinbone; While reading the obituaries in the local paper, he came across the name of Ethan Jaynes, whose story he heard in Pete's Bar & Coffeeshop: The ranch worker had died in that very bar at the age of 37 and was due to be buried at noon . Ethan, of the same age, who was abandoned by his wife for someone else, who began to drink and who died in an argument with his best friend, sees Johnny as a dark brother who had suffered the same fear of being overwhelmed by a higher power . The desire to raise the dead grows when Johnny feels the cracked marble top of the bar table on which Ethan's head fell in an argument with Lee Ransom. He instinctively recognizes that the strange cowboy was just as unhappy, basically cursed, as he was himself. The broken marble, the place of death, becomes for the deeply moved Johnny the starting point of a powerful vision of creation and the foreboding of his own future fate.

The sixth chapter describes the mental techniques that Johnny uses against the great fear that comes over him when he goes about his mission. He perceives every raising of the dead as a “battle” (JS 54), which he wages against himself and all those present when he enters the cemetery. On the way to the scene of the event, he lets himself be carried away by the idea that God has prepared everything for him: He sees himself as part of a divine plan, as an instrument of the Most High who acts through him. Johnny also sees his awakening activity as an attempt to redeem an unspoken childlike wish that every mourner cherishes in the heart - that the dead should be alive against all reason.

Chapters 7–8

Johnny explains to his audience the method that will enable him to overcome the doubts that befell him before going to the grave. Using the imaginative technique of the “land name”, he transforms the mourners into cities and landscapes of Galilee, Samaria and Judea, which Jesus passed on his way to Jerusalem. The late, furrowed gray-haired woman in the back row of the mourners embodies, for example, Capernaum , “squat city by the sea”; the woman blocking his passage is Tiberias, followed by Mount Tabor and Samaria , the "beautiful, navy-blue-mantle" Tirza and other stops on the way to the holy city: From the "dark crowns" of Atarots it goes down to Jordan and back up to Bethanien , where the priest's “word rustles”, finally into Jerusalem to the arcades of Bethesda on the northern edge of the temple district (JS 60-63).

In Johnny's sacred topography, the grave of the one to be awakened coincides with the grave of the awakener. On arrival at the destination, the coffin is broken open with the crowbar in the jacket pocket so that light falls on the dead person. Raising him, Johnny says: "Wake up Ethan!", But before the word of God can penetrate his ear, he is already being pulled, pulled away from the grave, and knocked down. At the end of his venture, Johnny regularly finds himself in a prison cell. Since no one in Shinbone is filing a complaint, he is brought to the city in a police car and abandoned in the desert, on condition that he never re-enter the place.

Chapters 9-11

Driving through Death Valley is one of the storylines in the novel.

A car approaches the scene of a tree in partial shade under which the wounded Johnny is lying. The same woman he'd seen down the hills on the highway early that morning gets out of the car. That woman witnessed the events in Shinbone and secretly followed Johnny. It's the same Hallie Doniphan that Johnny claims to have killed at the beginning of the novel. Hallie, who takes the abandoned person into the car, justifies her interest in his person with his power to raise the dead and asks him explicitly to bring a "friend who died a long time ago" (JS 75) to life. While the two drive through the night in the direction of Panamint Valley, a neighboring valley to Death Valley , a conversation develops about the purpose of raising the dead, in which Hallie takes the view that Johnny has a wrong, namely a concrete understanding of this process. She advocates a symbolic view, u. a. by explaining to him that the "friend" to be awakened has been dead for more than twenty years and that there is no longer any body that could be touched, as is the case when the prophet Elisha lies on the body of the dead person, to breathe his breath into him. The transcendent reality that Hallie represents has its image in the "dark, silent, inviolable land" (JS 93), which has been called the land of the soul since ancient times . According to Hallie, the relevance and power of this spiritual reality can be brought to light by the resuscitator as well as the artist, if he uses his own power of imagination and creates a fictional reality that is just as real as the concrete reality: “In the In the hearts of the audience, however, the dead always rise, even when they are playing. "(JS 96)

Fulfilling Hallie's wish means learning to remember and finding access to the deeper layers of life. Hallie tries to break the blockade by reporting the circumstances of her “friend”, a twelve-year-old girl, a pastor's daughter who, according to official reports, was shot and killed in a robbery in her home. Finally she tells Johnny the story of the "den of lions" that the father told the girl "through childhood". This story, so Hallie mysteriously, explains her personal belief in Johnny's ability and power (JS 101).

Chapter 12

The inserted story of the “lions' den” is a fictional legend of Christ , following the traditions of apocryphal childhood gospels and alchemical parables . Woven are motifs from well-known biblical stories, u. a. from Daniel in the den of lions Dan 6,2-29  EU and The three wise men from the Orient Mt 2,1-12  EU . On the night of January 6th, in his thirteenth year, four kings kidnap the young Jesus from his parents' house in Nazareth and throw him into an abandoned den of lions. The fourth king, who does not bring a gift, gives Jesus himself as the reason for the kidnapping: He, the future “Messiah and Savior” (JS 104) would be under trial and should become what he is not yet. In the following test for life and death, Jesus is not brought to a lion, but a boy of the same age: Judas , son of Simon, who was “prepared in a very specific way” by the kings (JS 105). Surprisingly, he immediately attacks Jesus with a knife and inflicts wounds on him. Jesus, who cannot communicate, becomes very angry and stabs Judas with the knife in the heart. This violent act does not end the trial, however, because the actual trial of the kings requires Jesus to bring the dead back to life.

Chapters 13-14

Unlike his father, who always refused to let the story end because the mystery of bringing it to life defies explanation, Johnny von Hallie hears an addition and later the continuation of the events in the pit. In the agony of death, Judas threw his head back and forth so that the dying man's ear was exposed and the wax that closed the ears was exposed. When Jesus realized that Judas had made himself insensitive to his words or had been made insensitive by the kings, he described them as "madmen" (JS 113). The impossible was asked of Jesus: to free Judas who was not freed.

The motif of the wax-sealed ears forms an associative bridge to Johnny's own childhood, which is told in the following chapter. Hallie, who knows everything about Johnny and his past, identifies herself as a "reminder" (JS 117). She has all her knowledge from memory, but she needs someone who listens and is able to "bring to life" what is remembered.

Chapter 15

For the first time Johnny takes up the narrative thread and describes a dramatic incident that happened to him at the age of thirteen when he wanted to hear the voice of God. On Midsummer Night of June 23, he crossed the street to the father's church and entered the church through the sacristy. According to his father's advice, he wanted to keep quiet so that he could be close to God. He made two balls from the wax from the large altar candle and put them in his ears. When, standing on the altar, he closed all of his senses in front of the large crucifix and one by one extinguished all inner images that still emerged in him, the “hand of God” had come to him: “Breath-hot, licking with it Tongue of the beast, He singed ”(JS 120). In fear of being "extinguished in the fire of His words," he fell from the altar and found the church all around burning. God, so Johnny in retrospect, was "in ambush" for him at the time and only waited for this one night to punish his childlike trust that wanted to "sneak into His secret" (JS 121) and bring about an agreement with him.

At the last moment they managed to escape from the burning "church pit" - with the help of the wind that pushed open the door to the sacristy from the outside and enabled Johnny to jump over the burning head of the crucified Christ through the breach into the night. There was only one witness to the event: the younger sister Sharon, who had watched everything from the window of the common room.

Chapter 16

For the first time, the relationship with the sister comes into focus; after that night she takes on the role of protector and is by Johnny's side when he wakes up from dreams of fear. Johnny is also marked externally: a hardening of the curve of the left ear testifies to his ambivalent encounter with God for a lifetime.

Hallie now confronts Johnny with the accusation of killing the sister. Because he rejects any responsibility for it, she reconstructs for him the scenario of the night in which the sister died. It all began with a dream by Johnny that showed his father crying in his study in front of a robbed safe. Alarmed by the idea that the church rebuilding donations might have been stolen, Johnny wakes up and sneaks into his father's study to see if the money to “make up for his church fire” (JS 130) is safe. In the eerie atmosphere of the night of the full moon, he opens the compartment of a normally locked closet, in which the father's war diary is kept. He secretly reads the entry about the liberation of a concentration camp in which his father took part as a military chaplain in the US Army during World War II . In reading the lines, Johnny becomes a witness to the absolute evil in the form of the Holocaust , and a witness to the desperation of his father, who loses his faith over the horror of the mass murder of the Jews. Overwhelmed by the spontaneous vision of an uprising, Johnny does not notice the sister who has stepped into the room behind him - frightened by the noise in his back, a shot from the pistol, which was deposited in the diary and is still in Johnny's hand, is released when turning around; the bullet fatally hits Sharon in the ear.

Johnny's confession takes place in batches in stichomythical alternating speech with Hallie, who leads him through the events of that night. The lifelong repressed trauma of accidentally killing the sister is reconnected to consciousness.

Chapters 17-18

Johnny describes what happened after the accident: The mother invents the protective legend of the robbery in which Sharon was shot by burglars; she tells the son that she was not in the room when the shot was fired. The cover-up of the circumstances of death is, on the one hand, a protective measure, insofar as it removes Johnny from the access of the authorities, on the other hand he is forced into psychosis: He has to split off the incident and thus also the responsibility for the death of his sister and suppress it from consciousness.

At the funeral, he sees the sister laid out in the open coffin one last time. To make the pain of her death bearable, he imagines her face as a landscape - according to the analogy of her name to the biblical landscape. "Sharon" refers to the plains of the same name in Palestine and Mount Carmel, on which the woman from Shunem asks the prophet Elisha for the awakening of her son in 2 Kings 4 : 27-28  EU .

After the funeral, Johnny leaves home forever. The guilt, which he is not allowed to admit, weighs heavily on him: Why did God let him become the “murderer” of his sister (JS 150)?

He perceives Sharon's grave as a deep, dark pit, into which he falls at the end of childhood. In a state of deep hopelessness, the story of the "lions' den" comes back to his mind - the situation of the young Jesus, who had become a murderer against his will. Just as he was confronted with the supposedly unsolvable task of bringing the dead Judas back to life, Johnny is now required to bring the dead sister "back to life".

Chapters 19-20

The destination of the journey through the night, an abandoned preacher's tent at the foot of a star dune in the Panamint Valley, is reached. Hallie and Johnny move to the center of the tent; there the "companion" reveals the mystery of bringing to life by telling the story of the "lions 'den" to the end and visualizing the events that took place in the den after Judas' death.

During three hours of darkness, Jesus immersed himself in the multitude of human fears and desires, in despair, hatred and murder, in order to experience these mental states inside. Thereupon he cut the body of Judas into seven parts and "ate" it; he collected the blood in a chalice and "drank" it (JS 155). The division and integration of the other into one's own brought about an agreement. According to Hallie's teaching, the hardship that is to be healed and the sin that is to be forgiven must be endured inwardly by the healer. Jesus himself was in need of consolation, but had to die lonely on the cross. It was this experience of total powerlessness that ultimately enabled him to have a redeeming effect.

Hallie now reveals himself to be Johnny's soul and asks him to unite with her. Following the example of Jesus in the lions' den, he is to have a communion with her: break her seven times and drink and eat from her heart. The crack in the tent roof and the rain pouring down on Johnny indicate the end of inner communion and, in the image of baptism, point to a new beginning. Johnny goes to Blade to fulfill Hallie's assignment.

Chapter 21

The last chapter follows the beginning of the novel, the homecoming to Blade, as if in a circle. One day after his voluntary arrest, on December 22, 1992, Johnny Shines was released. No evidence has been found for the murder of Hallie Doniphon in the preacher's tent in the Panamint Valley, and a person with that name is also unknown. Johnny's plaid jacket, which was discovered in a tent ruin in the Panamint Valley, indicates the factual presence of the suspect at that location.

Finally, the anonymous narrative voice of the opening chapter, reporting from the temporal overview, describes Johnny's excerpt from Blade. His way out of the village leads through the cemetery, where he attends a funeral without interfering in the ceremony. Seven years later, on the turn of the millennium, there was a series of earthquakes. The sister's coffin was found in the Blade cemetery. Apart from a wad of money and silver cutlery, it turned out to be empty.

Design and structure

Narrative form

Johnny Shines is a dialogue novel in 21 chapters, which is designed as a framework narrative . The introductory framework (chap. 1-2) constitutes the setting, the fictional desert nest Blade, and introduces the hero who enters his home village like a film set. The opening frame (chap. 21) describes the excerpt from Blade, Johnny's re-entry into the world and puts his story, unfolded in the middle part, into the mythical light of legend.

The middle section (chapters 3–20) is designed as a dialogue with a female voice who approaches Johnny in his sleep to open the conversation with him. This main part, which takes up almost the entire novel, is designed as a night conversation in the cell of the small police station at Blade; Chapter 9 opens up a second narrative layer that goes deeper into the past: Johnny's night drive with Hallie Doniphan through Death Valley. The internal story is a flashback, insofar as past events are brought to mind - first the events of the previous day in Shinbone (Chapters 3–8), then (while driving with Hallie) the central childhood events that determined Johnny to be the wake-up man. The boundaries between the presence of narration in the cell and the car ride the day before flow into one another, so that the roles of the female dialogue partners also fall into one.

Narrative perspective

An anonymous female voice, the inner voice of the hero, acts as the superordinate narrative instance, appearing one after the other as his reminder, companion and finally as his soul. Insofar as the narrators are part of the narrated world, which they visualize for each other in dialogue, a homodiegetic narrative position prevails , whereby Johnny is to be regarded as an unreliable narrator due to his psychological disposition, especially at the beginning of the plot .

In the frame parts, the narrative perspective changes from the dominant personal position to the first-person perspective a few times, just as the focus can change from distant observation to direct participation in the action. This flexibility is continued in the narrative style: while the scenic dialogic mode predominates in the main part, the frame parts are characterized by a report-like style that can adopt a biblical-legendary style as well as a factual, neutral reporting tone.

Time structure

The plot is presented achronologically, following the pattern of the classic detective story . At the beginning there is a riddle: the strange appearance of the disturbed hero, who addresses a strange woman as "resurrected" and accuses himself of murdering another woman. The solution to the case takes place in the middle part - not through a detective's search for clues, but - according to the generic term soul speech - in a therapeutic dialogue with the female voice, who descends into the depths of memory with Johnny, to explore the reason for his obsession. After the prehistory has been uncovered, the solution to the "case" consists in a ritual of communion based on the Christian Lord's Supper , which signals the hero's becoming whole in the sense of resurrection. With Johnny's departure from the abandoned preacher's tent (chap. 20), the plot arcs back to the beginning, with Johnny's arrival in Blade (chap. 1). The circular composition gives the novel, along with other figures of repetition and variation, its myth-typical character.

swell

John Ford's late-western "The Man Who Shot Liberty Valance" served as the template for the novel.

The basic theme of mental becoming whole, the principle of dialogue with the soul and the relevance of dreams as a medium of self-knowledge are inspired by the depth psychology of the CG Jung school . The scene of the action and the timeless atmosphere of the primeval landscape of Monument Valley are based on Roth's admiration for two classic films of the 1960s and early 1970s: John Ford's The Man Who Shot Liberty Valance (1962) and Peter Bogdanovich's The Last Picture Show (1971); both play in rural America, in the west and south of the country. The closeness to Ford's Late West is made explicit in one of the mottos; it also appears in the names of the novelists and in the name of Shinbone town, all of which are borrowed from Ford's film. In narrative and dramaturgical terms, Lev Tolstoy's novella Die Kreutzer Sonata was an important stimulus: Like Die Kreutzer Sonata , Johnny Shines opens with a confession of murder, which gives rise to a psychological in-depth study that is designed as a dialogue between the hero and an unnamed narrator. As with Tolstoy, the dialogue unfolds in the closed space of a train coupé or the interior of a car while driving through the landscape.

Aspects of Interpretation

Scientific criticism has worked out the novel's various references to Christian myth, depth psychology and film and interpreted the characteristic entanglement of the concrete reality of contemporary everyday life with the symbolic world of the unconscious as a reconciliation of myth and logos.

Based on the generic term soul speech , Michaela Kopp-Marx reads the novel as a visualization of an inner soul process, as a dialogue between the protagonist's ego and his unconscious in the form of a female voice. The novel therefore represents a speech about the soul, a speech about the soul and a speech about the soul. The soul functions in three ways: as a narrator, as an object of narration and as a narrated figure. Parallel to Carl Jung's conception of the anima as a female image of the soul in men, she has the task of a mediator between the ego and the unconscious. In external reality, she appears in various roles: as a reporter who is interested in Johnny's story, as Hallie Doniphan, who makes him remember, and finally as a mystagogue who guides him about the death of his sister To reintegrate the split-off female image of the soul, to “bring the woman of the soul” back to life: “ Johnny Shines is the story of an individuation that begins as a detective story to slip imperceptibly into the waters of a mythical night sea voyage. Corpus Delicti is the soul that Johnny lost with the death of his sister, after whom he is ignorantly searching, which he finds again with Hallie's help and transforms himself into an inner communion. "

Michael Braun understands the novel as a memorial speech, insofar as the event of the killing of the sister is reproduced in repetitive memory and in it brings about the release from the compulsion to raise the dead. The novel programmatically blends the spaces of memory from the fields of the Bible, depth psychology and film on top of each other and creates a new kind of “polymythic structure”, which makes the myth, disqualified in modern times, readable again as an “aesthetic experience”. “Roth reads the biblical (and apocryphal) stories of the resurrection not as holy texts, in which one may no longer change an iota, but as myths whose narrative core can be varied in many ways. [...] The conversation that Johnny conducts as a Socratic-Maeutic self-talk, as an imaginative soul-talk, as an intermedial discourse with film and Bible, tells - not explained - the myth of the resurrection in a new way. "

For Gerhard Kaiser , the novel forms the actual center of the Christ Trilogy due to the story of the "Lions' Den" . The apocryphal legend of Christ detaches significant beliefs in Christianity from their contexts and constellates them in a striking way. The teaching of the “lions' den” is provocative, insofar as Jesus himself enters the guilt context in order to be able to save as Messiah.

In terms of depth psychology, the events in the lions' den are interpreted as a symbolic representation of a "battle of the soul" that takes place in Jesus on behalf of the individual. Communion is an obvious topos for unification with a rejected soul content, embodied in Judas. Despite the “depth psychological reinterpretation” of Christian traditions, the novel should not be misunderstood as an illustration of psychological processes - the extremely high intertextual reference density, the artful composition and the high degree of relativity of the narrated speak against this: “Roth's story is ultimately shown in perspective through a continuous poetological self-reflexivity that acts as a threshold in front of a too directly religious or psychological reading. "

reception

The feature section criticism of the early 1990s reacted split. In addition to lack of understanding and perplexity, there is praise and admiration, whereby the reviewers agree on the respect for the narrative risk of the second prose publication by a young author.

A hurdle for many critics is the archaic, biblical style of language, which despite the short style and colloquial expressions was perceived as "tiered", "aestheticistic" and "pathetic". Johnny Shines is a "complex, eminently cinematic web of cuts, flashbacks and dream sequences" in a "sometimes unbearably high pitch"; the “stubborn force of words” has become rare in contemporary literature: “We have been born an author who, without shrinking from falling into ridicule, goes to the limits of reason and language. As if by a miracle, a transubstantiation succeeds here, which now and then presses intoxicating mass wine from stale holy water. "

The unusual speech and the unusual subject provoke irony and a tendency to parody. “No doubt, Patrick Roth is a narrator with all the holy waters of post-biblical storytelling.” Approving reviews attribute a “fascinating beauty and originality” to the novel and praise the “puzzling structure” of the plot, which requires the reader's cooperation, but he does reward the opportunity to “find a little way to find yourself”.

Sigrid Löffler vividly formulates the typical mixture of astonishment and fascination : “One says it reluctantly: What this author tells in a biblically inspired, sometimes mannerly canted and exaggerated, sometimes out of touch and crazy enthusiasm prose, is nothing other than the mystery of the sacrament of the Change. And this strange undertaking is accomplished in a highly complex, highly conscious form of presentation that makes use of platonic dialogue as well as psychoanalytic therapeutic conversation, which makes the genre of biblical legend available as if new and which also provides the soul thriller with fresh suspense stimuli can win. Patrick Roth has no equal in today's German-language literature. "

expenditure

  • Patrick Roth : Johnny Shines or The Raising of the Dead. Soul speech . Suhrkamp, ​​Frankfurt a. M. 1993, ISBN 3-518-40552-7 . (Hardback edition)
  • 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 new edition in one volume. Commented by Michaela Kopp-Marx . Wallstein, Göttingen 2017, ISBN 978-3-8353-3065-8 .

literature

  • Michaela Kopp-Marx : “Guilt, knowledge and redemption. The story of the Johnny Shines. A deep interpretation "= The living myth. The letter from Patrick Roth . Königshausen and Neumann, Würzburg 2010, ISBN 978-3-8260-3972-0 , p. 113-127 .
  • Michael Braun: "Memory and myth in Patrick Roth's soul speech Johnny Shines" . In: Michaela Kopp-Marx (Ed.): The living myth. The letter from Patrick Roth . Königshausen and Neumann, Würzburg 2010, ISBN 978-3-8260-3972-0 , pp. 113–127.
  • 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 : "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

Individual evidence

  1. ↑ Patrick Roth: The Christ Trilogy. Three novels and a CD . Frankfurt am Main: Suhrkamp, ​​1998.
  2. ↑ Patrick Roth: Johnny Shines or The Raising of the Dead. Soul speech . Frankfurt a. M. 1993, p. 20. In the following proof with Sigle JS u. Page number.
  3. ↑ Michaela Kopp-Marx: “Guilt, Knowledge and Redemption. The story of the Johnny Shines. A deep interpretation. ”In: dies. (Ed.): The living myth. The letter from Patrick Roth . Würzburg: Königshausen & Neumann, 2010, pp. 43–111, 50.
  4. ↑ Michael Braun: "Memory and Myth in Patrick Roth's Soul Speech Johnny Shines." In: Michaela Kopp-Marx (Ed.): The living myth. The letter from Patrick Roth . Würzburg: Königshausen & Neumann, 2010, pp. 113–127, 126 f.
  5. ^ Gerhard Kaiser: Resurrection. The Christ Trilogy by Patrick Roth. The killer will be the redeemer. Tübingen, Basel: A. Francke, 2008, p. 67.
  6. ↑ Ibid., P. 56.
  7. ↑ Martin Halter: Spiritually deranged. Patrick Roth's speech about a certain Johnny Shines , in: Frankfurter Allgemeine Zeitung , September 22, 1993.
  8. ↑ Hajo Steinert: Holy Water prose. Patrick Roth's new story in the sound of the Bible, in: Die Zeit , October 8, 1993.
  9. ↑ Konrad Paul Kurz: Fights in the lions' den. Patrick Roth's "Soul Speech" , in: Rheinischer Merkur , October 8, 1993.
  10. ↑ Sigrid Löffler: Sister resurrected , in: Spiegel Spezial 5/1993.