Sabbath's Theater Quotes

“Oh Mickey, it was wonderful, it was fun - the whole kitten and kaboozle. It was like living. And to be denied that whole part would be a great loss. You gave it to me. You gave me a double life. I couldn't have endured with just one."
I'm proud of you and your double life."
All I regret", she said, crying again, crying with him, the two of them in tears..."is that we couldn't sleep together too many nights. To commingle with you. Commingle?"
Why not."
I wish tonight you could spend the night."
I do, too. But I'll be here tomorrow night."
I meant it up at the Grotto. I didn't want to fuck any more men even without the cancer. I wouldn't do that even if I was alive."
You are alive. It is here and now. It's tonight. You're alive."
I wouldn't do it. You're the one I always loved fucking. But I don't regret that I have fucked many. It would have been a great loss to have had otherwise. Some of them, they were sort of wasted times. You must have that, too. Haven't you? With women you didn't enjoy?"
Yes."
Yes, I had experiences where the men would just want to fuck you whether they cared about you or not. That was always harder for me. I give my heart, I give my self, in my fucking."
You do indeed."

And then, after just a little drifting, she fell asleep and so he went home - "I'm leaving now" - and within two hours she threw a clot and was dead.
So those were her last words, in English anyway. I give my heart, I give my self, in my fucking. Hard to top that.
To commingle with you, Drenka, to commingle with you now.”
― Philip Roth, Sabbath's Theater

“Either foreswear fucking others or the affair is over.”
― Philip Roth, Sabbath's Theater

“As for himself, however hateful life was, it was hateful in a home and not in the gutter. Many Americans hated their homes. The number of homeless in America couldn't touch the number of Americans who had homes and families and hated the whole thing.”
― Philip Roth, Sabbath's Theater

“Too late, but I understand. That we don't perish of understanding everything too late, that is a miracle. But we do perish of that -- of just that.”
― Philip Roth, Sabbath's Theater

“Many farcical, illogical, incomprehensible transactions are subsumed by the mania of lust.”
― Philip Roth, Sabbath's Theater

“You don't have to work in a mental hospital to know about husbands and wives.”
― Philip Roth, Sabbath's Theater

“I do not say correct or savory. I do not say seemly or even natural. I say serious. Sensationally serious. Unspeakably serious. Solemnly, recklessly, blissfully serious.”
― Philip Roth, Sabbath's Theater

“And he couldn’t do it. He could not fucking die. How could he leave? How could he go? Everything he hated was here.”
― Philip Roth, Sabbath's Theater

“Nothing keeps its promise.”
― Philip Roth, Sabbath's Theater

“But from within the carton, Morty's American flag - which I know is folded there, at the very bottom, in the official way - tells me, "It's against some Jewish law," and so, on into the car he went with the carton, and then he drove it down to the beach, to the boardwalk, which was no longer there. The boardwalk was gone. Good-bye, boardwalk. The ocean had finally carried it away. The Atlantic is a powerful ocean. Death is a terrible thing. That's a doctor I never heard of. Remarkable. Yes, that's the word for it. It was all remarkable. Good-bye, remarkable. Egypt and Greece good-bye, and good-bye, Rome!”
― Philip Roth, Sabbath's Theater

“We are immoderate because grief is immoderate, all the hundreds and thousands of kinds of grief.”
― Philip Roth, Sabbath's Theater

“I can’t really tell objectively how sorry I should feel for myself. I don’t give the same credibility to my being that other people give to theirs. Everything feels acted.”
“Everything is acted.”
“Whatever. With me there’s some glue missing, something fundamental to everyone else that I don’t have. My life never seems real to me.”
― Philip Roth, Sabbath's Theater

“She had been stopped when Morty was killed, stopped from going forward, and all the logic went out of her life. She wanted life, as all people do, to be logical and linear, as orderly as she made the house and her kitchen and the boy's bureau drawers. She had worked so hard to be in control of a household's destiny. All her life she waited not only for Morty but for the explanation from Morty: Why? The question haunted Sabbath. Why? Why? If only someone will explain to us why, maybe we could accept it. Why did you die? Where did you go? However much you may have hated me, why don't you come back so we can continue with our linear, logical life like all the other couples who hate each other?”
― Philip Roth, Sabbath's Theater

“Under the sad end-of-days spell of the smoky dusk and the waning year, of the moon and its ostentatious superiority to the trashy, petty claptrap of his sublunar existence, why does he even hesitate? The Kamizakis are your enemies whether you do or not, so you might as well do it. Yes, yes, if you can still do something, you must do it - that is the golden rule of sublunar existence, whether you are a worm cut in two or a man with a prostate like a billiard ball. If you can still do something, then you must do it! Anything living can figure that out.”
― Philip Roth, Sabbath's Theater

“you will make mistakes on a scale you can’t even dream of now—because there is no other way to reach the end.”
― Philip Roth, Sabbath's Theater

“And he couldn't do it. He could not fucking die. How could he leave? How could he go? Everything he hated was here.”
― Philip Roth, Sabbath's Theater

“For a pure sense of being tumultuously alive, you can't beat the nasty side of existence.”
― Philip Roth, Sabbath's Theater

“Madeline displayed the bright sadder-but-wiser outlook of an alert first grader who’d discovered the alphabet in a school where Ecclesiastes is the primer—life is futility, a deeply terrible experience, but the really serious thing is reading.”
― Philip Roth, Sabbaths theater (Ulysses klassieken)

“But what affords the one with happiness affords the other with disgust. The interplay, the ridiculous interplay, enough to kill all and everyone”
― Philip Roth, Sabbath's Theater

“You can store us like shoes or ship us like lettuce. The simpleton who invented the coffin was a poetic genius and a great wit.”
― Philip Roth, Sabbath's Theater

“Emotions, when they’re revved up, don’t change, they’re the same, fresh and raw. Everything passes? Nothing passes. The same emotions are here!”
― Philip Roth, Sabbath's Theater

“Two hundred and sixty miles round-trip, but it was worth it for Drenka’s breasts.”
― Philip Roth, Sabbath's Theater

“Which only goes to show what everyone learns sooner or later about loss: the absence of a presence can crush the strongest people.”
― Philip Roth, Sabbath's Theater

“It did not matter that the idea made no sense. Sabbath’s sixty-four years of life had long ago released him from the falsity of sense.”
― Philip Roth, Sabbath's Theater

“Everything runs away, beginning with who you are, and at some indefinable point you come to half understand that the ruthless antagonist is yourself.”
― Philip Roth, Sabbath's Theater

“And so now you will get rid of me? Overnight? Like that? After thirteen years?”

“I am confused by you. I can’t follow you. What exactly is happening here today? It’s not I but you who proposed this ultimatum out of the fucking blue. It’s you who presented me with the either/or. It’s you who is getting rid of me overnight . . . unless, of course, I consent to become overnight a sexual creature of the kind I am not and never have been. Follow me, please. I must become a sexual creature of the kind that you have yourself never dreamed of being. In order to preserve what we have remarkably sustained by forthrightly pursuing together our sexual desires—are you with me?—my sexual desires must be deformed, since it is unarguable that, like you—you until today, that is—I am not by nature, inclination, practice, or belief a monogamous being. Period. You wish to impose a condition that either deforms me or turns me into a dishonest man with you. But like all other living creatures I suffer when I am deformed. And it shocks me, I might add, to think that the forthrightness that has sustained and excited us both, that provides such a healthy contrast to the routine deceitfulness that is the hallmark of a hundred million marriages, including yours and mine, is now less to your taste than the solace of conventional lies and repressive puritanism. As a self-imposed challenge, repressive puritanism is fine with me, but it is Titoism, Drenka, inhuman Titoism, when it seeks to impose its norms on others by self-righteously suppressing the satanic side of sex.”
― Philip Roth, Sabbath's Theater

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So Sabbath passeth the time, pretending to think without punctuation, the way J. Joyce pretended people thought,”
― Philip Roth, Sabbath's Theater

“If he weren't too old to go back to sea, if his fingers weren't crippled, if Morty had lived and Nikki hadn't been insane, or he hadn't been - if there weren't war, lunacy, perversity, sickness, imbecility, suicide, and death, chances were he'd be in a lot better shape. He'd paid the full price for art, only he hadn't made any. He'd suffered all the old-fashioned artistic sufferings - isolation, poverty, despair, mental and physical obstruction - and nobody knew or cared. And though nobody knowing or caring was another form of artistic suffering, in his case it had no artistic meaning. He was just someone who had grown ugly, old, and embittered, one of billions.”
― Philip Roth, Sabbath's Theater

“Even from behind the screen, it was possible from certain angles for Sabbath to catch a glimpse of the audience, and whenever he spotted an attractive girl among the twenty or so students who had stopped to watch, he would break off the drama in progress or wind it down, and the fingers would start in whispering together. Then the boldest finger - a middle finger - would edge nonchalantly forward, lean graciously out over the screen, and beckon her to approach. And girls did come forward, some laughing or grinning like good sports, others serious, poker-faced, as though already mildly hypnotized. After an exchange of polite chitchat, the finger would begin a serious interrogation, asking if the girl had ever dated a finger, if her family approved of fingers, if she herself could find a finger desirable, if she could imagine living happily with only a finger... and the other hand, meanwhile, stealthily began to unbutton or unzip her outer garment. Usually the hand went no further than that; Sabbath knew enough not to press on and the interlude ended as a harmless farce. But sometimes, when Sabbath gauged from her answers that his consort was more playful than most or uncommonly spellbound, the interrogation would abruptly turn wanton and the fingers proceed to undo her blouse. Only twice did the fingers undo a brasserie catch and only once did they endeavor to caress the nipples exposed. And it was then that Sabbath was arrested.”
― Philip Roth, Sabbath's Theater

“Clothes are a masquerade anyway. When you go outside and see everyone in clothes, then you know for sure that nobody has a clue to why he was born and that, aware of it or not, people are perpetually performing in a dream.”
― Philip Roth, Sabbath's Theater