Product Description

Once a scandalously inventive puppeteer, Micky Sabbath at sixty-four is still defiantly antagonistic and exceedingly libidinous. But after the death of his long-time mistress - an erotic free spirit whose adulterous daring exceeds even his own - Sabbath embarks on a turbulent journey into his past. Bereft and grieving, besieged by the ghosts of those who loved and hated him most, he contrives a succession of farcical disasters that take him to the brink of madness and extinction.

Product Details

• Amazon Sales Rank: #113755 in Books
• Published on: 1998-01-03
• Original language: English
• Binding: Paperback
• 464 pages

About the Author
In the 1990s Philip Roth won America's four major literary awards in succession: the National Book Critics Circle Award for Patrimony (1991), the PEN/Faulkner Award for Operation Shylock (1993), the National Book Award for Sabbath's Theater (1995), and the Pulitzer Prize in fiction for American Pastoral (1997). He won the Ambassador Book Award of the English-Speaking Union for I Married a Communist (1998); in the same year he received the National Medal of Arts at the White House. Previously he won the National Book Critics Circle Award for The Counterlife (1986) and the National Book Award for his first book, Goodbye, Columbus (1959). In 2000 he published The Human Stain, concluding a trilogy that depicts the ideological ethos of postwar America. For The Human Stain Roth received his second PEN/Faulkner Award as well as Britain's W. H. Smith Award for the Best Book of the Year. In 2001 he received the highest award of the American Academy of Arts and Letters, the Gold Medal in fiction, given every six years 'for the entire work of the recipient'.

Customer Reviews

A novel you don't so much read as engage in battle with.
This is the first Philip Roth novel I read, and I haven't been able to read any more since in case none of them are as good. Sabbath's Theater is a dangerous, exhilirating, outrage-inducing read. It demands concentration and engagement, and rewards with an intellectual and emotional honesty rarely found in modern fiction. Mickey Sabbath is by turns profoundly wise, utterly execrable, and uproariously, devilishly, humanly funny. I defy anyone not to feel a guilty elation of recognition at the whole scene of crying and duplicity in Mickey's friend's apartment. The first line of the novel is a masterpiece of an opening - the roaming, desperate energy of the entire book and a landscape view of the plot all crammed into less than ten words. The perfectly crafted shock of the last lines is like a piledriver in the chest. And everything that's in between is a revelation. Whether you're a man or a woman, DO NOT read this book unless you are prepared to be a) offended and outraged, and b) humbled and educated. Or, on the other hand, just read it anyway.

A Darkly Comic Masterpiece of Complexity
In Sabbath's Theater, Philip Roth finally showed us he could write a book in which neither Philip Roth nor his thinly-veiled stand-in, Nathan Zuckerman, made an appearance.

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.

Roth the Magnificent
Is life just a tale told by an idiot signifying nothing? Waht else is there but sex and death? Mickey Sabbath rages against the dying of the light by indulging in sexual excesses. Roth writes brilliantly about male sexuality. Believe me, some of my Sunday league soccer team would do Mickey proud (I exaggerate only slightly). Roth's novels are consistently honest, energetic and filled with clear-sighted intelligence. More! More!