Logged story info: https://jasonfrye.com/short_story/safety/
This story by Joan Silber has a lot of present day themes. Here’s a quick plot summary. The story tracks two friends, both girls who grow up in New York City, Brooklyn, one a Jew the other a Muslim. They become fast friends but grow apart as many due in adulthood. The narrator, the Jewish girl, becomes a lawyer and finds her way back to New York after some time outside the city. In their thirties they reunite. Yasmina has become a performer with her husband Abdul. Abdul has a Pakistani background, but is an American citizen. That doesn’t help him later in the story when he’s detained by ICE and self-deported back to Pakistani. That’s a very wide view of the story, but it gets to the crux of the piece, that injustice has been done and the world has been turned from one with clear rules to one without.
The story title and narrator’s career and life share similar thematic resonance. We consider ourselves safe if born in the US. The narrator is safe, as the final lines of the story prove. She’s able to take the same train to work, like every other day, like nothing had happened, while all this madness is going on in the world. And her safety is never under fire. In fact, she’s safe as can be in a world of political evil. She’s also a lawyer who once believed the law was a real thing, something substantial, if not messy. Now law is something that is suspect, a thing of utility for despots. So is safety a reality for all or just for some, depending on an ever-changing set of rules.
There were ties in the story to the Nazis. Anya’s origin story, who is Yasmina’s mothershowed the dark side of despots and their rule. The forced migration by Stalin of her people led to her being separated from her family. Those parallels to the current story’s situation were not lost. And it speaks to the trauma happening right here in America to our friends, community, and sometimes to our loved-ones.
A key piece of Yasmina and Abdul’s story is that they’re comedians. Comedians often have the language and cultural touchstones in places where other, regular folks do not. They can pierce to the heart of issues with cutting references and sarcastic wit. They’re also one of the first performers to be silenced by overbearing administrations, so while the story doesn’t admit this part of the equation, it does seem like the Trump ghouls might have silenced and forced out Abdul due to his jibes, especially seeing as he was from New York, a city that runs from this administration.
I thought some of the trauma of the events that unfolded were muted, maybe on purpose. For instance, we don’t really see Yasmina leaving the country to be with her husband in Pakistan. We know the narrator visits her and helps her unload copious amounts of detritus from her apartment, but we don’t really see those moments and feel the loss that Yasmina is going through. But it all happened so fast for the narrator, who at once realizes her friend is really leaving the country too. And isn’t that how this all comes to be? Before we realize it, these atrocities happen and we’re left behind picking up the pieces.

