Salvatore (Arnold Stadler)

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Salvatore is a story by Arnold Stadler from 2008.

Former theology student Salvatore fails to write a book. It was supposed to deal with Salvatore's encounter with a film by Pasolini .

Michelangelo da Caravaggio (1600):
The calling of Matthew

content

I. Salvatore
1. On the day of an ascension. On the Elbe in the morning.

Anno 2005: As a person and theologian, Salvatore from Leer failed because of a thoroughly sensible world. After all, this 48-year-old man, whose first name means “Redeemer”, keeps himself afloat with lectures; speaks to Rotarians about funding. Salvatore knows all about money; also because he is broke himself. In addition, Salvatore married into a family of business economists . Salvatore's wife Bernadette was an auditor and their brother Gabor has here and there small business handled . Salvatore dropped out of theology he started in the 1990s, lost his faith, but remained a Catholic . Bernadette had defected to the pagans because of the church tax . Leaving the church is an impossibility for Salvatore. Neither God nor the Pope could do it even if they wanted to. Salvatore's paternal grandmother had lived first in the Basilicata and then in Naples. The pious old woman had never really learned to read and write and had spoken a late Latin variant of the language interspersed with Albanian , Catalan and Greek . Salvatore's father came from the cave town of Matera to the “beautiful North German Plain ” and married Emma from the Münsterland . This woman, Salvatore's mother, had suffered from the autochthonous Munsterland speechlessness.

The narrator slowly gets to the point when he lets Jesus call out to the fisherman Peter at the Sea of ​​Galilee : “ Come! "

2. Introibo. I'm going in. Will go inside. Have entered.

It is still that Ascension Day mentioned above. The really important thing is repeated: Salvatore never left the Church. What the reader does not know yet - after dropping out, Salvatore first started a career as a grave speaker, wanted to become a management consultant and gave lectures about the ozone hole .

Now things really start. Salvatore thinks almost continuously about the Gospel of Matthew . He longs less to be close to God and more for people, for example those blind people whose eyes opened on the road from Jericho to Jerusalem during their encounter with Jesus.

3. The great flood, cordon bleu in the Lindenschänke.

Salvatore watches a black and white film from 1964 in the community hall for the second time in decades. In this too - as luck would have it - the Gospel of Matthew is hacked through. In this work of art by Pasolini - it is called " The 1st Gospel - Matthew " and is in memory of Pope John XXIII, who died in 1963 . dedicated - it is teeming with relatives on Salvatore's father's side. All of these amateur actors are from Matera. Pasolini had even entrusted the role of Matthew to an uncle Salvatores . A good choice, thinks Salvatore. Because that uncle would have been a sinner as well as the former tax collector Matthew from Capernaum . The film careers of two uncles soon ended in prison.

4. On the way home. Road movie.

Arnold Stadler writes that when Salvatore left the community hall after the film, "he was someone else". Salvatore may not have fond memories of his first visit to the film when he was a child, but his new project is taking shape. He finally wants to write the book about that Pasolini work, of which he keeps fantasizing Bernadette. He already has the first sentence: " You'll never make it to Hildesheim ."

5. "I'll be with you." It was love. At first glance.

This first sentence from Salvatore's planned first novel in a novel somehow also refers to the wandering of Jesus with his twelve apostles . "Let's go!" He had asked the loaded. 33 sub-chapters tell about Salvatore's re-encounter with Pasolini's film. Entry to this poorly attended, illustrated Good News from the Evangelist Matthew is free. Even smoking is allowed during the performance. The family history of Salvatore is being updated. It's about the criminal uncle to whom Pasolini had given the role of the apostle Matthew. Soon after the shooting, the uncle had escaped from the police from southern Italy to behind Hildesheim - more precisely to his Italian, pizza-producing relatives in Leer. There in the North German Plain the handcuffs of the Interpol had clicked. The former tax collector Matthew was not the only sinner in that film. It's about Dostoevsky figures, so scapegoats. The apostle Judas' suicide on a rope under the fig tree is discussed. Before the suicide, Judas had thrown his wages - those 30 pieces of silver - at the Pharisees ' feet.

Salvatore looks at the film sequences extremely critically and keeps an eye out for other relatives and acquaintances from Matera. There is - probably in Nazareth - a layman in the crowd. He plays the role of the doubter as real as a professional actor. This is not related to Salvatore. Then there is a young rich man who fails Jesus' trial. The dude is supposed to give away his fortune.

After the film experience, Salvatore wants to write everything down. If a novel is not enough, then maybe a road movie .

II. Requirement to belong

First of all, Arnold Stadler quotes from his novel “Sehnsucht. Attempt about the first time ”(2002).

1. Pasolini Pier. The gospel according to Matthew. Book, film and life

In his comment, Stadler emphasizes one of the basic human concerns of the Gospel of Matthew and thus the Pasolini film above: the longing for miracles and love. The gospel is the score of hope. Leaving the ground of his prose text, Arnold Stadler railed against the exegesis of Bultmann , against Uta Ranke-Heinemann and raised the Bible-firm convinced communist Brecht on the pedestal: "And because the human being is human ..."

The filmmaker's homosexuality is not concealed. Pasolini, as a victim of society, recognized himself in Jesus and Matthew. In his film project he was inspired by the poetry inherent in the Gospel of Matthew. Some of the views of the Catholic Marxist Pasolini make one sit up and take notice: Anyone who classifies people according to their market economy value is a criminal.

2. For you, for me, forever. The calling of Matthew in the picture of Michelangelo da Caravaggio in the church of San Luigi dei Francesi in Rome

At no point does the author describe his work as a novel. Hanenberg refers to the multimedia textual character when he lists the painting Caravaggio as the three constituents in addition to the book (Matthew's Gospel) and the Pasolini film .

shape

The narrator who sucks the reader offers endless fun; especially in the first half of the book. The narrator notes that Salvatore looked into a book by Arnold Stadler on the Wednesday before Ascension Day. Or Salvatore sings in a poorly attended church service together with the small congregation. His voice is dwarfed by a certain Christa Wetter. Their Jubilo has risen to heaven; almost reached the center of the universe through the "erection-friendly blue". In return, the narrator apologizes to the reader for his excess of “poetry”. The narrator is happy about little things - for example a nice genitive. The first of the two books is about the wonderful day of the Ascension of Christ. Salvatore looks closely at the screening of Pasolini's film. Jesus does not walk on the water, but walks on a raft. If the narrator jokes about God and the world from a mostly naive point of view, if he keeps asking himself and the reader whether what has just been said could be roughly correct or whether it is understandable, the reader is faced with the next question: Why didn't Arnold Stadler Salvatore taken as narrator?

The enigmatic meaning of a number of expressions emerges neither from the sentence in question nor from its surroundings. Are, for example, "GDR-Schlusen" former prison officers , sluts or a funny language creation?

In Arnold Stadler's nonchalant style, sentimentality can hardly arise even in emotionally charged passages. Arnold Stadler's comments on Pasolini's film were successful. When, for example, the film explains: "This is the prophet Jesus of Nazareth in Galilee !", Stadler notes in brackets: "So that was also explained."

The narrator allows Salvatore to think and apparently quotes the Bible from his head: "As the deer is thirsty for fresh water ..."

The book is also instructive in its digressions: Wilhelm II is said to have been a Protestant bishop on the side . "The end of Faust II " is alluded to. However, the discussion of theological questions predominates in the last third of the book. Hanenberg notices an “increasingly referring tone”.

It looks like Arnold Stadler reveals himself to be the narrator towards the end of his book. He reports on his theology studies in 1975/76 at the Gregoriana in Rome.

Movie

When watching the two-hour deadly serious Pasolini film immediately after reading the Arnold Stadler book, which was funny at times, the following is noticeable: the author has simply left out some of the well-known things from the Jesus story - emotionally overemphasized in the film. It starts with seemingly trifles. Pasolini paints the scene when Judas throws blood money at the Pharisees' feet (the Pharisees want to use their 30 pieces of silver to buy a blood sample ). Pasolini's depiction of the suffering of Jesus and the mourning of Mother Mary is much more detailed than in Stadler's. The Jesus in the film preaches too much and acts too little. From the perspective of the 21st century, Arnold Stadler can actually be credited with a merit. This Catholic author lets Jesus preach well-known things, but presents them much more digestible than Pasolini at the time with the time-honored direct method.

Arnold Stadler names the great film music based on Bach and Mozart , but leaves Prokofiev and Webern unmentioned.

reception

  • Salvatore stands on the shoulders of Pasolini and Caravaggio.

literature

Text output

Used edition

Secondary literature

  • Peter Hanenberg: Re mediations : The search for the salvation of the world in Arnold Stadler's »Salvatore« . P. 100-108 in Paul Michael Lützeler (ed.), Jennifer M. Kapczynski (ed.): The ethics of literature. German authors of the present. Wallstein Verlag, Göttingen 2011. ISBN 978-3-8353-0865-7 .

Remarks

  1. ↑ Heesters is 102 years old (edition used, p. 35, 5. Zvo). However, there is talk of the year 33 after the moon landing (edition used, p. 46, 3rd Zvu). That would be 2002. After all, 2005 is insisted on (Edition used, p. 164, 14th Zvu).
  2. ↑ Arnold Stadler formulates that God has lost Salvatore (edition used, p. 29, 18. Zvo).
  3. ↑ Handmaid of Theology: The film is not an ancilla theologiae (Edition used, p. 184, 12. Zvo).
  4. ↑ Besides the prostitutes , Jesus also counts the tax collectors among the sinners .
  5. ↑ Quote: "Now you know: ..." (Edition used, p. 26, 3rd Zvo)
  6. ↑ Arnold Stadler praises Mel Gibson's film adaptation from 2004. Hollywood can fool the viewer into walking over the water forty years after Pasolini.
  7. ↑ "As the stag longs for fresh water ..." ( Ps 42,2  EU )
  8. ↑ See also above - the language gimmicks of the Latin artist Arnold Stadler: For example “I go inside. Will go inside. Have gone in. "

Individual evidence

  1. ↑ Hanenberg, p. 102, 15. Zvo
  2. ↑ Edition used, p. 42, 8. Zvo
  3. ↑ Edition used, p. 84 above
  4. ↑ Edition used, p. 91, 1. Zvu
  5. ↑ Edition used, p. 93, 8. Zvo
  6. ↑ Jesus tests the rich young man: ( Mt 19.21  EU )
  7. ↑ Edition used, p. 189, 9. Zvo
  8. ↑ Edition used, p. 159, 15. Zvo and p. 158, 8. Zvo (see also Hanenberg, p. 105, 19. Zvu and 8. Zvu)
  9. ↑ Edition used, p. 162, 8th Zvu
  10. ↑ Edition used, p. 156, 2. Zvo, p. 74, 2. Zvu and also p. 166 ff.
  11. ↑ Edition used, p. 183, 4th Zvu
  12. ↑ Edition used, p. 185 above
  13. ↑ Edition used, p. 183, 6. Zvo
  14. ↑ Edition used, p. 172, 15. Zvu
  15. ↑ Hanenberg, p. 100
  16. ↑ Edition used, p. 61, 17. Zvo
  17. ↑ Edition used, for example p. 65, 10. Zvu or also p. 66, 1. Zvu
  18. ↑ Edition used, p. 39, 2nd Zvu
  19. ↑ Schluse
  20. ↑ Edition used, p. 132, 18. Zvo
  21. ↑ Edition used, p. 33, 9. Zvu
  22. ↑ Edition used, p. 40, 9. Zvu
  23. ↑ Hanenberg, p. 101, 21. Zvo
  24. ↑ Edition used, pp. 164–165
  25. ↑ Hanenberg, p. 107, 7. Zvo

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