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This is the story of Simon William Behler, a popular New Journalist whose career has peaked. In 1980 he is lost overboard off the coast of Sri Lanka while attempting to retrace, with his lover, the legendary voyages of Sinbad the Sailor.
- Sales Rank: #647197 in Books
- Published on: 1991-01
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x 6.50" w x 1.25" l,
- Binding: Hardcover
- 544 pages
From Publishers Weekly
Just when you may have concluded, like Queen Scheherazade's husband, that you've "heard them all," Barth ( The Tidewater Tales ) proves again how original and entertaining he is. Like many of the author's previous works, his latest blends fantasy, mythology, existentialist wit, bawdy humor and metafictional conceits. But though his opening words declare, "The machinery's rusty," the new novel is a testament both to Barth's undiminished generative powers and to his maturity of vision. In the elaborate plot, a "fifty-plus," "once-sort-of-famous" New Journalist named Simon William Behler is mysteriously transported to the medieval Baghdad of Sindbad the Sailor. Behler--known variously as "Somebody the Sailor," "Baylor" and "Sayyid Bey el-Loor," falls in love with Sindbad's daughter Yasmin and gets enmeshed in Arabian intrigues. The intrigues revolve around such nagging questions as the intactness of Yasmin's virginity, the veracity of Sindbad's tall tales and the whereabouts of a wristwatch Behler needs in order to return home. All this is dealt with in the course of six evenings of storytelling at Sindbad's dinner table. Barth creates whole and engaging characters with his usual wealth of wordplay, allusion and satire. But the novel's greatest achievement is how it connects the conventionally realistic story of Behler's 20th-century life with the outsize and metaphorical world of Sindbad, reflecting in the process on the nature of stories, dreams, voyages and death. BOMC selection; major ad/promo; author tour .
Copyright 1990 Reed Business Information, Inc.
From Library Journal
Simon Behler--or Baylor, as he refers to himself in his countless best-selling books of New Journalism--falls overboard during a cruise retracing the legendary voyages of Sindbad the Sailor and is pulled from the water by contemporaries of the real Sinbad. Trapped in the distant past but never at a loss for words, Behler--or Bey el-Loor, as he is now known--amuses his new friends with his exotic tales: boyhood on Maryland's Eastern Shore, first love, early literary success, marriage, and divorce. Intricately, almost obsessively structured, Barth's latest novel is written in the mature, relaxed, stubbornly long-winded style of The Tidewater Tales (Putnam, 1987). He breaks no new ground here, but fans will enjoy his virtuoso recycling of familiar themes. Previewed in Prepub Alert, LJ 10/1/90.
- Edward B. St. John, Loyola Law Sch. Lib., Los Angeles
Copyright 1990 Reed Business Information, Inc.
From the Publisher
Rambunctious, sexy, and full of narrative high jinks, The Last Voyage Of Somebody The Sailor is a bawdy epic that somehow merges medieval Baghdad and twentieth-century Maryland in a virtuoso performance by a National Book Award-winner, and one of America's most outrageously innovative writers.
Most helpful customer reviews
9 of 9 people found the following review helpful.
Maybe Barth's greatest novel
By John Domini
"Somebody the Sailor" is the great work of Barth's later career, maybe his greatest story ever. The novel is full of feeling, above all; like all his best work since "End of the Road," it makes a profound and emotional feminist argument. It creates at least three splendid women characters, while exposing the cultures and systems that limit them. And it does this within a splendid, ever-ingenious plot -- straddling fantasy and relaism, utterly devoid of cliche or secondhand thinking -- that comes finally to the powerful subject of mortality, of coming to terms with our own demise. Brilliant, provocative, soulful, far-reaching, this book will outlast nine-tenths of Amazon's current stock.
12 of 14 people found the following review helpful.
A polarizing, brilliant, pornographic, and worthwhile fight
By A Customer
As I glanced over the previous reviews of this book I was struck (once again) with my own oscillating love and hate for this book. To begin with I must admit I believe this to be one of Barth's greatest novels and Barth himself to be (when at his best) one of the "technically" greatest writers of all time. He is also one of the most supremely aggravating novelists ever to put pen to paper. Yes, he deserves much of the somewhat narrow-minded criticism applied by my fellow reviewers. And yes, those who gush uncritically about this book (or most of his others) are likely letting him get away with more than he has earned.
Yes, this book SHOULD strike the reader as sexist (male chauvanistic is not really accurate) and yes, it would strike me, at least, as quite surprising if a woman were able to swallow this piece of literature without at least some digestive malaise. But (although, I speak as a male) I think it should be said that it is pretty evident (Barth's narrator admits it more than once) that Barth is really writing about his "Muse" and not literal women. The voyages of the story are the narrator's life voyages of lost and found identity and the various female characters are really one shape shifting "Lady Soul", sister, and twin. And yet, to me, this does not excuse Barth's utter usurping of these female characters. They are "men's women", not characters with any autonomous femininity and do not rightfully belong to the world of Woman or the female imagination.
In fact, I found the book to have a flavor of pornography, albeit pornography suited to a somewhat more sophisticated, middle-aged man's tastes. Half of the time I read, I balked at this lack of emotional complexity and conflict with the Other and its substitution with mid-life crisis/adolescent fantasy. But (again a but) This book is about the opposing poles of Reality and Fantasy and how one might identify their own humanity and self while moving between these poles. So one voice in me would say--That's just a cheap male fantasy-- and another voice would say--Barth knows this and has made it specifically so. And the first voice would chime in--Why is every "voyage" or stage of his life so sex-obsessed as if nothing but sex is formative.
My only reply to that is a bit intellectual and probably insufficient: in the journey of self-discovery and identity forging for a man(at least) there is a significant stage of battling with self and other which is psycho-sexually symbolic, polar, and erotically charged. It has always been portrayed this way--from folk tale to ancient alchemy to medieval romance to psychoanalysis. Barth may be trapped in his complexes and obsessions, too trapped to see all the limitations of his vision, but, on a symbolic level, his seven journeys are an important if often misunderstood (mostly by women, I'm sorry to say) part of a man's life. My only ultimate disappointment was that both Barth and his middle-aged Behler seemed to be hung up in this "psychosexual" stage a bit too long into the age of "wisdom," and that the book ends before either of them looks back on it all with a wistful but comprehending demystification.
So for psychological maturity: three stars. But, damn if this isn't maybe the most brilliantly written piece of quasi-pornography ever. It may not be his best book, but it may be his "best-written" book. The prose is frankly amazing (though not at all for either the casual or non-literary reader) and the overall creation is a master symphony where themes arise and disappear, transform, stir subterraneaously and echo with such virtuosity I was utter blown away. At times, it's a bit long-winded, but it's finally a very tight and complexly wound narrative that makes for an exquisite piece of literary art. For that, five stars at least.
Oh, and is it racist? I don't really think so. Barth is fully aware that he is not creating a legitimate Arabian world. He is more performing a tap dance with a very fantastic and very fictional and mystical world of the occidental imagination--thus the one reviewer's claim of "orientalism." Barth frequently uses the "exploded stereotype" as if to make sure we all know we are not in a world of three dimensions, but a world that exists only on the page, a world born on the page that can only move to another page and never stand up fully formed out of the book.
2 of 2 people found the following review helpful.
Fine writing, mediocre book
By Harvey Ardman
Do not approach this book thinking you will come away feeling satisfied. You won't. You will be impressed by the writing. Every sentence is well-crafted. You will be impressed by the wit. Parts of this book are truly funny. You will be taken with the author's fertile imagination, and tickled by what other reviewers are calling the "pornographic" parts--that's much too harsh a word, I think.
But...you will find it tedious reading at times. You will easily enjoy parts of it--the parts set in modern times and wish there were more of them. You will be amused, for a time, with Sinbad's adventures. But you will, I think, decide that there are too many of them, they go on for too long and they don't contribute as much as the author thinks they do.
And when you put the book down, you will, if you're like me, utter the single comment: "Argh!" You will find the ending ambiguous and unsatisfying. We are led by the hand to one last great trip. The trip begins...and then the book runs out of pages.
This is not, I am afraid, the Sot-Weed Factor. The author is a fine, even great writer, but this is far from his best work.
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