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Two Words, Three Sources, Four Generations: How I Built The Wergild

A novel can be assembled inside the space between two words, provided the words are old enough and the space between them has never closed. The oldest components of The Wergild are a pair of terms from early English and Germanic law. The first is the title itself: the wergild was the man-price, the payment a killer or the killer’s kin owed to the family of the killed, scaled to the standing of the dead, the settlement that closed a feud and kept grief from multiplying into graves. Beside it sat morð, the old law’s name for a killing done in secret and left unacknowledged, the one category of death the whole system could never settle, since no price can change hands until the killer has a name. Every law that promises repayment carries a shadow clause for the debt it cannot collect. I built the novel inside that shadow, and every other component was chosen for how much load it could carry there.

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The Magnificent Loser: The Book I Wrote to Answer Two Words in Red Ink

Every writer carries a verdict he never agreed to. Mine was two words long, written in red marker across the title page of a play I cared about, by a historian whose judgment I had asked for and could not afford to ignore. BAD DRAMA. No note beneath it, no argument, no second page. I was in my twenties. I put the play in a drawer and told myself I had learned something useful about my own limits. It took me forty years to understand that I had learned the wrong lesson, and that the right one would take an entire book to say.

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Discrimination Day: How a Classroom Stunt Trained Children to Obey and Called It Empathy

At Brownell Elementary School in Lincoln, Nebraska, around 1973, my teachers ran a famous experiment on my class, and by the standard they set, I failed it. They split the room in two. The children with brown eyes were told they could command the children with blue eyes, and the blue-eyed children had to obey. I have grey eyes, so the teachers folded me in with the blue group, the way they folded in the hazel-eyed and anyone else who refused to fit the clean binary they wanted. For a day I watched classmates order other classmates to do push-ups, to fetch coats, to answer to the word “master.” The teacher delivered the moral with a satisfied smile: “Now you know how it feels to be Black.” We had, at most, one or two Black students in the entire school.

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The Station Across Town: A Lincoln Boyhood, the Federation I Did Not Watch, and the Second Half of a Television Diptych

When I was sixteen, I had a television show called Kidding Around on KOLN/KGIN-TV in Lincoln, Nebraska. It was 1981. I was a teenager hosting a teenager-aimed program on a commercial CBS affiliate, three blocks of which I have no doubt were paid for by advertising for Pepsi and Levi’s and the Lincoln car dealerships that kept American local television alive in the early Reagan years. The format was loose. The show featured kid interviews, viewer letters read on air, and unscripted segments of the kind that the FCC’s mandates for “ascertainment of community needs” were supposed to encourage and that the FCC’s 1981 decision to deregulate radio, followed by the parallel television deregulation of 1984, was designed to kill. Kidding Around did not survive into the late 1980s. It was a casualty of a specific federal policy decision documented in the book I published earlier this year, Selling Saturday Morning.

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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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The Quiet Throat-Cutting of the American University

Syracuse University announced the other day that it will phase out 93 of its approximately 460 academic programs. The administration framed the decision as strategic alignment, calling it a portfolio review driven by student demand and institutional focus. Provost Lois Agnew insisted the move was “not a cost-cutting exercise.” Taken at face value, some of these cuts are routine catalog maintenance. Fifty-five of the ninety-three programs had zero students enrolled. Twenty-eight were advanced certificate supplements to graduate degrees. The provost herself noted that Syracuse offered more than double the roughly 200 programs typical of peer institutions, and a university trimming a bloated catalog to concentrate faculty resources is doing ordinary academic management. Reasonable people can call that housekeeping.

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The Westborough Crusaders: The Trilogy That Took Forty-Four Years to Earn Its Novels

Some work waits for you. Not patiently. Not the way a dog waits by the door, loyal and uncomplicated. It waits the way a diagnosis waits in a family’s bloodline, silently present, expressing itself in symptoms you do not recognize until you are old enough to understand what your body has been trying to tell you. In 1982, I was sixteen years old, living in the Midwest, and I sat down and wrote eight episodes of a television series called The Westborough Crusaders. I did not know I was writing the first draft of a trilogy. I thought I was writing television. I was wrong, but I would not understand how wrong for another four decades.

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