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Sabbath's Theater Paperback – 3 Apr 2008
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"For me, the book of the year - maybe the decade - is Sabbath's Theater...funny...moving, imaginative, deep... A masterpiece" (Times Literary Supplement)
"Sabbath explodes some mad genie out of his bottle...[Sabbath's Theater] has more firestorming prose than any other novel I have read this year" (Observer)
"In time this will be seen as Roth's best novel so far" (James Wood Guardian, Books of the Year)
"A work of near-heroic vitality and cunning" (Sunday Telegraph)
"Absolutely filthy book with one of the most unpleasantly priapic and desperate anti-heroes in modern literature. A delight" (Nigel Lindsay Daily Express)
'A postwar American masterpiece' - Daily TelegraphSee all Product description
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The novel is narrated in flashback by 64-year old ex-puppeteer and (still) sex-obsessed Mickey Sabbath, and takes us (in loving detail) through the fractious and turbulent journey of Sabbath's various lives and loves. Roth is typically uncompromising in creating what is essentially a loathsome hero, one who has embarked on a succession of adulterous relationships, whilst spurning two marriages and apparently betraying just about every friendship that ever came the way of anti-hero Sabbath. But, gradually as the tale unfolds, it becomes apparent that there are facets to this abomination that are not wholly repugnant, none more than Sabbath's underlying maternal love and his hero-worship for his soldier brother Morty, sadly lost fighting the Japanese in 1944 whilst Mickey was still only a teenager.
The concluding sections of the novel, where Mickey negotiates potential sites for his own burial plot and where he happens upon a lost centenarian cousin, thereby finding another route for communicating with the memories of his long-lost brother, are particularly affecting and poignant.
The theme of Sabbath's Theater has been done before: a lecherous, unconventional man railing at the ravages of time and the dwindling of the sexual potency by which he has defined his very existence. Most of the time, however, this theme is poorly written, the characters trite and cliched. Roth, not surprisingly, invests this novel with more lyrical energy, more sexual frankness, sharper comedy and deeper seriousness than has any writer before.
Although Roth does make use of both flashback and association, the plot of Sabbath's Theater is brisk. Mickey Sabbath, who went off to sea at the age of eighteen just so he could visit the world's brothels, is a loathsome character. His abiding philosophy of life is simply to do whatever he pleases and never to worry about pleasing anyone else. Nothing phases him, in fact, he seems to take pleasure in his uncanny ability to antagonize others. Their outrage seems to be only a reflection of his own self-worth. Mickey Sabbath manages to hurt, deceive, betray, offend, insult and abuse just about everyone with whom he comes into contact.
A true degenerate, Mickey Sabbath may seem to lack any sense of moral conscience. Although anyone meeting such a character would deny it, Sabbath actually spent an idyllic childhood on the Jersey shore; a childhood that was shattered by a traumatic dual loss. In an effort to deal with his loss and the resultant pain, to stamp out the brutality of life, and, to affirm his own sense of aliveness, Sabbath turns to carnal pleasures with a vengeance, indulging each and every sexual impulse.
Even as Sabbath indulges his crasser nature, however, and casts a satirical eye on those who deny their sensual impulses, he still endeavors to understand himself and the workings of the universe. In fact, much of the novel's comic pathos is derived from the tension that exists between Sabbath's base nature and his lechery and his seemingly incomprehensible yearning for cosmic illumination.
There is a lot of graphic sex in Sabbath's Theater and most readers will probably find it simply too perverse. I did not enjoy reading this book, and, although I think I understand Mickey Sabbath, I have to admit that I hated him. He suffers, that cannot be denied, but he is simply so perverse, and his behavior so amoral, that I really didn't care.
To be fair, I do have to admit that the perversity in this book did enhance and advance my understanding of Mickey Sabbath and the conflicts in which he is embroiled. And Philip Roth is certainly better at creating degenerate, or at least morally ambivalent characters, than he is at creating the lofty or the solemn. His "good" characters are simply too good to be true, while Sabbath, much as we may despise him, is completely credible. He may be despicable and perverted, but at least he knows it.
The writing in Sabbath's Theater is absolutely first-rate; it is pure Philip Roth and it crackles with more energy and exuberance than Portnoys' Complaint. The characters are more complex, the narrative more sophisticated and the tonal range wider than many of Roth's other works. The ending of the book virtually drips with irony. This is a multi-layered novel and one that is brilliantly original. It also contains some of the funniest writing to be found anywhere in American fiction today. Sabbath's Theater is, at its heart, a darkly comic masterpiece of complexity from one of America's finest authors. But it is simply too perverse for most readers to enjoy.
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