In his sophomore novel Haber explores the nature of obsession and friendship through the lens of two art critics who have hedged their careers on an obscure painter from the Dutch Renaissance and his magnum opus, Saint Sebastian’s Abyss. The narrative follows the self-serious and hilarious antics of these two friends-turned-rivals as they attempt to unlock the meaning of what is, by all accounts, an insignificant work by a raving and perverse madman from the 16^th century. With the absurdity of academia and the meaninglessness of capital D discourse as his fodder, Haber has written one of my favorite books of 2022 so far.