Is the Gospel of John Fictional?

What the stakes are, if it is at least partially fiction, is this: not everything written in the gospel happened, but some of it was created by authorial imagination. Around a month ago, I published a blog entitled, "Trickery in the Gospel of Mark,"¹ where I demonstrated that Mark was partially fiction ("a making up of imaginary happenings").²

            The narrator of the story in John becomes evident as a persona in the narrative when he directly addresses the readers, freezing the story in mid-telling and commenting on some aspect of what had just been shown and again resuming its telling.³ These comments are like parenthetical expressions interrupting the flow of the narrative. By comparison there is only one instance of this narrative device in the Gospel of Mark where the narrator becomes personified and directly addresses the reader (Mark 13:14).

            Among other things, the author uses this narrative device to present interior views (explain thoughts and motives) of characters in the drama and to explain what they are thinking and feeling. In real life, of course, the thoughts and motivations of others are hidden from us. We never know what people are thinking or their reasons for what they do. Even if they tell us, we only know what they told us they were thinking, and what they thought may well be different from what they said. The problem is also complicated by the fact that the Gospel of John is written around sixty years or so after the events narrated in the text,⁴ and the author was not an eyewitness to the events.⁵ This narrative device whereby the author presents interior views of characters in the narrative drama belongs more to the novelistic arts than to the historian's craft.

            What follows are several examples of this artifice by which the narrator reads the minds of characters in the drama including the mind of his created character, Jesus.⁶

The Narrator Reads the Mind of Characters in John's Gospel:

1 The narrator knows the steward did not know the source of the wine, but that the servants did know (2:9).

2 The narrator knows what the disciples remembered (2:22).

3 The narrator knows the inner motivation of those who persecuted Jesus (5:16).

4 The narrator knows what Jesus knew "within himself" (en eautō) (6:61).

5 The narrator knows the motivation of the parents of the man born blind (9:22–23).

6 The narrator knows what the disciples were thinking (11:13).

7 Judas questions why ointment was not sold and the proceeds given to the poor. The narrator knows Judas' motive for saying this (12:6).

8 The narrator reads Jesus' mind. Jesus knew from the beginning who did not believe and who would betray him (6:64).

9 The narrator reads the mind of Jesus and Judas (13:1–4).

10 The narrator knows that Satan had entered into Judas (13:27).

11. The Narrator reads Peter's mind and explains what Peter meant by the proverb Peter spoke (21:18–19).

What does it mean for a text when its author is found to engage in an unhistorical methodology, but chooses to use the conventions of literary fiction instead? At the least, it means that its narrative should be read very carefully. How should one read a text known to be novelistic? My suggestion is that one read it like one would read the historical novel Gone with the Wind. By recognizing that although it may have some historical features, the narrative itself is compromised as history. In the case of John, the author is more a Christian theologian than a disinterested historian.

Charles W. Hedrick
Professor Emeritus
Missouri State University

¹Wry Guy Blog, "Trickery in the Gospel of Mark," April 11, 2025: http://blog.charleshedrick.com/search?q=Trickery+in+the+Gospel+of+Mark

²Webster's New World College Dictionary (4^th ed), under "fiction."

³Hedrick, "Authorial Presence and Narrator in John. Commentary and Story," in J. E. Goehring, et al., eds., Gospel Origins and Christian Beginnings (Sonoma, CA: Polebridge, 1990), 74–93. I found 121 instances of this narrative device, p. 81.

⁴W. G. Kϋmmel, Introduction to the New Testament (trans., H. C. Kee; Nashville, TN: Abingdon, 1975), 246.

⁵Kϋmmel, Introduction, 245.

⁶After a cursory reading in English, I found over thirty examples of this device used by the author of John. Here are several other examples of mind reading by the narrator of John: 1:43; 2:22; 2:23; 4:1; 4:17-18; 4:39; 4:41; 6:61; 6:64; 10:6; 11:13; 12:16-17; 12:18; 12:33; 12:41; 12:42-43; 13:11; 13:21; 13:29; 16:19; 18:4; 18:9; 18:32; 19:28; 21:12.

Trickery in the Gospel of Mark

Artifice is defined as “a sly or artful trick”¹ and is regularly found in fiction literature, when an author informs a reader what characters are thinking or feeling:

[A]rtifice is unmistakably present whenever the author tells us what no one in so-called real life could possibly know.²

In life such views are not to be had. The act of providing them in fiction is itself an obtrusion by the author.³

Such obtrusions are especially obvious in narration that purports to be historical. And yet intelligent men were until quite recently able to read ostensibly historical accounts, like the Bible, packed with such illicit entries into private minds with no distress whatever.⁴

Booth continues by citing several New Testament passages in the canonical gospels where the authors perform the trick of reading Jesus’ mind. Specifically, he mentions two mind-reading tricks in Mark (1:41 and 5:30) and Jesus’ crisis of conscience in Gethsemane (Mark 14:32–42). How was it that this prayer came to be recorded in the Gospel of Mark when all of Jesus’ companions were fast asleep (14:37–40)? It turns out, however, that they might have overheard it, since scholars think that in antiquity people prayed out loud and not silently.

Ancient Prayer used to be spoken aloud. Silent or whispered prayer was reserved for offensive, indecent, erotic, or magical uses, but was later adopted as the normal rule in Christian practice.⁵

            Imagine my surprise when I read through Mark looking for interior views in which the narrator told readers what characters were thinking and/or feeling. Mark uses this novelistic deception over 30 times! Here are ten instances in which Mark informs readers what characters are thinking and/or feeling:

Mark 2:8 Jesus perceives in his spirit that they questioned within themselves.

Mark 5:29 She felt in her body that she was healed.

Mark 6:20 Herod feared John; when he heard John, he was perplexed but heard him gladly.

Mark 6:34 Jesus had compassion on them.

Mark 6:51–52 Disciples were utterly astounded and did not understand about the loaves.

Mark 9:6 Peter did not know what to say and the disciples were exceedingly afraid.

Mark 9:15 All the crowd were greatly amazed when they saw Jesus.

Mark 9:32 Disciples did not understand Jesus and were afraid to ask him.

Mark 12:15 Jesus knew their hypocrisy.

Mark 15:10 Pilate perceived that the chief priests delivered Jesus up out of envy.⁶

Such obtrusions are invented by the flesh and blood author, who attributes thoughts and feelings to the characters in the narrative for the purpose of advancing the narrative plot and developing characters in line with the narrative plot. The technique belongs to the rhetoric of fiction literature rather than the historians’ craft. Even had the flesh and blood author of the Gospel of Mark been present during the events being narrated (which s/he was not) the private thoughts and feelings of people would simply not have been accessible. Even when others tell us what they are thinking and feeling, we only know what they tell us. We can never have direct access to their private thoughts and emotions. Hence, exposing private thoughts and feelings is a deception performed by novelists, charlatans, libelers, and gospel writers. This one literary feature alone is enough to challenge the historical character of Mark’s Gospel.

Charles W. Hedrick
Professor Emeritus
Missouri State University

¹Webster’s New World College Dictionary (4^th ed.). s. v. “artifice.”

²Wayne Booth, The Rhetoric of Fiction (2^nd ed.; Chicago: University of Chicago Press, 1983), 3.

³Both, Rhetoric of Fiction, 17.

⁴Booth, Rhetoric of Fiction, 17-18, note 10.

⁵H. S. Versnel, “Prayer,” Oxford Classical Dictionary (3^rd ed., 1999), 1243. There were, however, exceptions to praying aloud. See Hannah’s prayer which was clearly silent (1 Sam 1:9–20).

⁶Here are the other interior views: Mark 2:8; 6:26; 7:27; 8:12; 10:22, 24, 26, 32, 41; 11:18, 32; 12:12,17; 14:4–5, 19, 33, 40; 15:44; 16:6; 16:8.