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The Area Code Comes Home

When Scott Frost took over at Nebraska in 2018, he brought with him from UCF a small equipment decision that ran directly against what the phone system had been doing for fifteen years. Frost let Husker players wear their three-digit home area code on the helmet bumper above the face mask. A Peyton Newell on the defensive line, a Mike Williams at wide receiver, an Andre Hunt lining up outside, each wore the digits of where they came from in black on red. The helmet bumper is a small piece of real estate, two inches by four, just large enough to carry three numbers. Frost had started the practice at UCF in late 2016 before the USF rivalry game, and he said at Nebraska that the guys took a lot of pride in it. Where you come from, he said, still counts.

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Still YUkon

My 212 number is YUkon 2. The exchange was retired as a spoken name sometime in the 1960s, when the phone company finished converting the system from alphanumeric to pure digits, and the YU that used to stand at the front of every Upper West Side number became a 9 and an 8 on a rotary dial. The number remained the same. What changed was the meaning. YUkon 2-8888 was an address. 982-8888 is a string of digits.

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Now I Become Em-Dash Triple Anaphora, Destroyer of Words

In July of 1945, at the Trinity site in the New Mexico desert, J. Robert Oppenheimer watched the first atomic detonation and, by his own later telling, thought of a line from the Bhagavad Gita. The Sanskrit word he rendered as Death is kāla, which scholars also translate as Time depending on context, and Oppenheimer’s decision to reach for the more theatrical English word tells you something about the difference between a physicist and a translator. “Now I am become Death, the destroyer of worlds.” The sentence has haunted the century because it collapses the distance between maker and unmaker into a single grammatical act.

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A New Old Musical, Now Available in Book Form

I have written a new musical. It is also, simultaneously, an old musical. The story happened in 1537. Shakespeare wrote the central character in 1595 and disappeared him from the text in the same scene that introduced him. My piece sits in Renaissance dramatic verse arranged into two acts with song cues a composer can set for voice and chamber orchestra. So when I say I have written a new musical, I mean that I have written the most ancient kind of thing a person can write and I have written it in 2026 and I am calling it new because that is what it is.

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Below the Mesh

The light year is a bookkeeping unit that has been promoted, by repetition and by the poverty of better language, into a cosmic speed limit. Both halves of that sentence are wrong in slightly different ways. A light year measures the distance a photon covers in one orbit of Earth around the Sun, and it measures that distance against the stage on which photons and Earths and Suns appear. We treat that stage as the bedrock of reality because every instrument we have ever built reports back from inside it. Our instruments cannot, by their nature, report from anywhere else. A fish with sophisticated sonar maps the reef in exquisite detail and concludes the reef is all there is. The water is invisible because the water is the medium of seeing.

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