(The short story “Civil Disturbance” by Said Sayrafiezadeh appeared in the June 19th, 2023 issue of The New Yorker.)
Photograph by Holly Andres for The New Yorker
This week’s short story from The New Yorker is “Civil Disturbance” by Said Sayrafiezadeh, an author I never have read before until today. It’s a competent short story that does a very good job of creating an unnamed fictional city that the characters exist in, which by extent, gives the protagonist ample breath of motion to go on his journey.
This is a first-person story, and the narrator also is unnamed, like the city. He and his girlfriend Molly, are out canvassing for their favorite candidate three days before the mayoral election. Molly works for the candidate’s campaign, as she has a clipboard of voter information, while the narrator give off a feeling of more “along for the ride” with his girlfriend. They bicker with each other, also implying that their relationship is near ending. The narrator works at a gym, a membership salesman, and his job skills come in handy speaking to potential voters when they answer the door. It happens that they come across a former high school classmate of the narrator’s. The classmate’s name is Bryce, who was a straight-A student that the narrator bullied in high school. Bryce works at the Wal-Mart next to the narrator’s gym, and happens to support a third-party candidate. The next day Bryce shows up to the gym looking to join, which the narrator is ready to upsell him, but then starts to have a change of conscious, only to have the power go out – blamed on the incumbent mayor. That night the narrator and Molly go out, and he throws bricks in the windows of the house that didn’t answer the door, which includes Bryce’s home.
There was a lot to like in this story. It flowed well, and had some nice touches of humor in it. The story was efficient on the whole, and worked with a minimum number of characters, who were clearly defined with understandable intentions. I also enjoyed how Molly would say something, and then the narrator would use that saying later in the story, showing he was listening, and applying what she said, though not in the correct way. And I was fascinated by this fictional city – it felt lived in, rundown, and struggling.
Yet, something kept nagging at me about this story which kept me from committing to it. One was that it did, sort of, have a “Dead Chick in the Basket*” moment at the end, where it is shared with us why this former high school jock became a gym membership salesman. I don’t think this information was needed about the character because we know that he is emotionally stinted, stuck reliving his past high school glories, and how that has affected his present situation. Knowing it was his coach who pushed him in that direction actually provides no new emotional insight on the character. The second issue took me a moment, but when I reread the story it hit me; this dumb jock talks like a writer. I offer this example; “Today’s particular conflict had been set in motion by the banal-”. Yeah… sorry, but no. The narrator doesn’t say “dude,” or “bro” or use any sports metaphors in describing any situations he’s in. The character is “jock” in name only – not in thought or action.
And that was it. Too bad as well, because I did enjoy what this story was saying about elections, politics, and how people interact with each other. Also, like I said before, Sayrafiezadeh did create a very lived in fictional city, that I was intrigued by, and wanted to know more about. I have a feeling that I will search out his other works, because there is something here, even if this story wasn’t completely even.
* “Dead Chick in the Basket” refers to a clichéd writing device where the final paragraph of a short story contains new information about a character which is meant to make the reader view the actions, statements, or feelings of that character in a different light. The first known use of this device was in J.D. Salinger’s short story “Just Before the War with the Eskimos.”
Matthew Groff 