This chapter demonstrates that although the Johannine texts do not share a real author, they all share a common implied author. All four purport to be works by an invented figure: a supposed eyewitness to the life of Jesus.

This chapter is a reading of the sea episode (Exodus 14) as a largely coherent narrative in which the Israelites move from self-determination, to dread, and finally to wonder and trust in both God and Moses because of what they witness at the sea. It was added as a new introduction relatively late in the literary history of the wilderness narrative. The case for this reading is grounded in the idea that productive tensions are an element of how literature works, while unproductive tensions can show us historical depth in the literary landscape. This chapter also addresses the relationship between literature and history, which is not mimetic but a matter of play with cultural repertoire from diverse historical and social contexts. Finally, the anonymous authorship of the Torah is usually attributed to the role of scribes as tradents, but this chapter draws on the idea that they transformed what they preserved and argues that those transformations could be as much political acts as literary ones. It proposes that the authors are implied in the literature, and that anonymity may be a function of genre (or mode).

Much has been written on the ‘implied reader’ in Lucretius’ DRN. From G. B. Conte’s textually constructed reader to recent work on Lucretian receptions, Lucretius’ readers or their textual condition have received substantial scholarly attention. What remains largely undiscussed – and what has left generation upon generation of the poem’s readers spellbound – is not so much other readers of the DRN, but the elusive ‘author’ himself. Jerome famously claimed that Lucretius wrote the DRN between intervals of insanity brought on by a love potion, and increasingly wild biographies of Lucretius crop up again and again in the reception traditions of the poem – from death-bed hallucinations brought on by his wicked wife to his beautiful but unresponsive male paramour. Taking some of these biographies as its point of inspiration, this chapter uses the concept of the ‘implied author’ to investigate what exactly it is about Lucretius’ text that inspired and inspires such imaginative, but arguably still textually grounded, portraits of its author.