i
 Contents
 1 Title page 1
 1.1 Abstract ii
 1.2 Declaration iii
 1.4 Acknowledgement v
 2 Johnny Golightly Comes Home 2
 2.1 Part 1: Epiphany 5
 2.2 Part 2: The Book of John 135
 3.1 Reflexive Essay 256
 3.2 Introduction 257
 3.3 Epiphany 258
 3.4 Johnny Golightly 266
 3.5 The Divine Shirley Bassey 281
 3.6 The Writing Process 291
 3.6.1 The Title 295
 3.6.2 Publication 296
 3.7 Bibliography 297
ii
 Abstract
 Johnny Golightly Comes Home is a nonfiction novel about the writing of two books by
 Pat Hopkins. In particular it is an account of the author?s often troubled interaction with
 artist John Anthony Boerma, who once took on the persona of Johnny Golightly after
 reading Truman Capote?s Breakfast at Tiffany?s.
 It is a story about illusion and fantasy in the creation of a work of conceptual art. As the
 lies are stripped away, so a new character emerges ? that of Johnny Gochristly, the
 messiah sent to take away the parameters of the world. And in this latter-day passion play
 the unwitting writer has the role of Judas.
 The accompanying reflexive essay reviews the themes as they appear in the book ?
 especially those of epiphany brought on by trauma, which leads to a divine mission often
 associated with extreme eccentricity. It concludes with a section on the writing process.
 Key Words:
 John Anthony Boerma
 Johnny Golightly
 Epiphany
 Trauma
 Eccentricity
 Outsider
 Suicide
 Helen Martins
 Truth
 Nukain Mabusa
iii
 Declaration
 I declare that this creative work and reflexive essay is my own unaided work. It is
 submitted for the degree of Master of Arts by Research in the University of the
 Witwatersrand, Johannesburg. It has not been submitted before for any other degree or
 examination in any other university.
 Patrick Mark Hopkins
 Name
 _______________________________________
 Signature
 ______day of November, 2007
iv
 For Jabu, Tiffany and Chelsea
v
 Acknowledgements
 Permissions are still awaited for the reprinting of previously printed published material in
 the creative work. In anticipation, grateful acknowledgement is given to the following;
 From The Magic Faraway Tree by Enid Blyton. Copyright 1943. This edition, London,
 Egmont Books Limited.
 From On the Road by Jack Kerouac. Copyright 1955 and 1957. This edition, London,
 Penguin Books.
 From Breakfast at Tiffany?s by Truman Capote. Copyright 1958. This edition, London,
 Penguin Books.
 I would also like to thank my supervisor, Michael Titlestad, for his invaluable guidance
 and input; and Alison Lowry and Jane Ranger at Penguin Books for believing in this
 project.