4.5 • 2.1K Ratings
🗓️ 4 September 2018
⏱️ 43 minutes
🧾️ Download transcript
Saïd Sayrafiezadeh reads his short story from the September 10, 2018, issue of the magazine. Sayrafiezadeh is the author of the story collection "Brief Encounters with the Enemy," which was a finalist for the PEN/Robert W. Bingham Prize for début fiction in 2014. He won a 2010 Whiting Writers' Award for his memoir "When Skateboards Will Be Free."
Learn about your ad choices: dovetail.prx.org/ad-choicesClick on a timestamp to play from that location
| 0:00.0 | This is the writer's voice, new fiction from The New Yorker. |
| 0:08.4 | I'm Deborah Treasman, fiction editor at The New Yorker. |
| 0:11.7 | On this episode of The Writer's Voice, we'll hear Saeed Sarifizade read his story, |
| 0:16.1 | audition from the September 10th, 2018 issue of the magazine. |
| 0:20.4 | Sarah Fizzade is the author of the story collection |
| 0:22.6 | Brief Encounters with the Enemy, |
| 0:24.2 | which was a finalist for the Penn Robert W. Bingham Prize |
| 0:26.9 | for debut fiction in 2014. |
| 0:29.6 | He won a 2010 Whiting Writers Award for his memoir |
| 0:32.5 | when skateboards will be free. |
| 0:35.1 | Now here's Saeed Sarifizade. |
| 0:38.3 | Audition. |
| 0:40.2 | The first time I smoked crack cocaine was the spring I worked construction from my father |
| 0:45.1 | on his new subdivision in Moonlight Heights. My original plan had been to go to college, |
| 0:50.8 | specifically for the arts, specifically for acting, where I'd envisioned strolling shoeless around |
| 0:56.5 | campus with a notepad, jotting down details about the people I observed, so that I would later |
| 1:01.9 | be able to replicate the human condition on screen with nuance and veracity. Instead, I was |
| 1:08.8 | unmatriculated in 19, working six days a week, making $8 an hour, no more or less |
| 1:15.2 | than what the other general laborers were being paid, and which is what passed, at least for |
| 1:19.9 | myself-made father, as fairness. |
| 1:23.4 | Occasionally, I would be cast in a community theater production of Neil Simon, or the mystery of Edwin Drood, |
| 1:29.6 | popular but uncomplicated fair, which we would rehearse for a month before performing in front of an audience of 15. |
... |
Please login to see the full transcript.
Disclaimer: The podcast and artwork embedded on this page are from The New Yorker, and are the property of its owner and not affiliated with or endorsed by Tapesearch.
Generated transcripts are the property of The New Yorker and are distributed freely under the Fair Use doctrine. Transcripts generated by Tapesearch are not guaranteed to be accurate.
Copyright © Tapesearch 2025.