Book Cover featuring an interpretation of Saint Sebastian with black paint splatters and the title and author in white text in the center

Saint Sebastian's Abyss

A novel by Mark Haber
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“What I wanted more than anything was to be standing beside Schmidt, in concert with Schmidt, at the foot of Saint Sebastian’s Abyss along with Schmidt, hands cupped to the sides of our faces, debating art, transcendence, and the glory of the apocalypse.”

Former best friends who built their careers writing about a single work of art meet after a decades-long falling-out. One of them, called to the other’s deathbed for unknown reasons by a “relatively short” nine-page email, spends his flight to Berlin reflecting on Dutch Renaissance painter Count Hugo Beckenbauer and his masterpiece, Saint Sebastian’s Abyss, the work that established both men as important art critics and also destroyed their relationship. A darkly comic meditation on art, obsession, and the enigmatic power of friendship, Saint Sebastian’s Abyss stalks the museum halls of Europe, feverishly seeking salvation, annihilation, and the meaning of belief. 

Publication date: May 10, 2022

Format: Trade Paper

Dimensions: 5 x 7.75

Page count: 160 pages 

ISBN: 9781566896368

Mark Haber was born in Washington, D.C. and grew up in Florida. His debut novel, Reinhardt’s Garden (2019, Coffee House Press), was longlisted for the PEN/Hemingway Award. His second novel, Saint Sebastian’s Abyss (2022, Coffee House Press), was named a best book of 2022 by the New York Public Library and Literary Hub. Mark's fiction has appeared in Guernica, Southwest Review, andAir/Light, among others. Mark lives in Minneapolis.

A New York Times Book Review Editors' Choice
A New York Public Library Best Book of 2022
A May Indie Next Pick
A Publishers Weekly 2022 Summer Read
A Literary Hub Favorite Book of 2022

“What is it about art that can move us to extremes? This absurdist take on very serious people hazards a guess.”

The New York Times

“A meditation on art that meticulously builds a fictional painter's world and critical legacy, only to playfully yet ruthlessly tear it all down.”

—New York Public Library

“[A] sparkling comic novel. . . . Schmidt is one of Haber’s keenest inventions.”

—Jackson Arn, The New York Times

“Taut as a drum, [Saint Sebastian's Abysss] calls to mind the early novellas of Roberto Bolaño and reads, at times, like an outtake from William Gaddis’s The Recognitions.

—Andrew Ervin, The Brooklyn Rail

“Haber relishes opportunities to tip sacred cows. . . . His critics feel so richly realized that one could be excused for Googling ‘Saint Sebastian’s Abyss’ to glimpse at a canvas that only exists in the book.”

—Andrew Dansby, Houston Chronicle

“In sinuous, recursive sentences infused with equal parts reverence and venom, Haber constructs a darkly parodic portrait of aesthetic devotion and intellectual friendship, in which the redemptive practice of collaborative interpretation becomes a cage that two egos relentlessly rattle.”

—Nathan Goldman, Jewish Currents

"A delightful and dizzying excursion into the relationship between art and criticism, and all the ways that we often deceive ourselves about the things and people we love.”

—David L. Ulin, Alta Journal

“A darkly funny novel about the wages of small-stakes intellectual combat.”

Kirkus

Saint Sebastian’s Abyss feels exactly like the description of the painting—deceitfully small in scale, containing a cosmic abyss at its center.”

—Hernan Diaz

“A brilliantly sustained performance: clever, droll and entrancing.”

—Chloe Aridjis

“In Saint Sebastian’s Abyss, we are swept away by the hilarious and misguided preoccupations of two compulsive pedants, a comedy duo, whose misadventures are as irresistible as they are outrageous.”

—Rikki Ducornet

“An absolute delight, and Haber’s love of writing comes through on every page.”

—Idra Novey

“A fantastic tale of the glories and tribulations of chasing an ecstatic relationship to art.”

—Matt Bell

“Funny, dark, strange, gothic, and beautiful—an extraordinary journey through three broken lives.”

—Edward Carey

“Mark Haber flays art of its pieties and pretensions, and when the cutting’s done, he has us look to see if anything’s left.”

—Adam Ehrlich Sachs

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