Tart, Citrus and Sunny, Marmalade Is a Reason To Get Out of Bed in Winter

Photo by Cynthia Hochswender


There’s an apocryphal story about marmalade that says the sugary citrus jam got its name from Mary, Queen of Scots (the famous Mary from the 1500s, who was a cousin to Queen Elizabeth). Supposedly, the future queen was ill and her grandmother’s cook, who had a large supply of citrus fruit on hand, was trying to find something to tempt her to eat.
“Marie est malade,” he kept muttering in French (Mary is ill) as he tried out confections, ending up with the one that became known as “marmalade.”
The name actually comes from the Portuguese word for quince, which was originally the fruit used to make marmalade.
Over the centuries, what we have come to know as marmalade is usually made from citrus fruit, particularly oranges.
There is no realistic way to make it seem like marmalade is healthy, other than that it’s made from the peels and juice of citrus fruit (which are healthy, especially now, in the middle of winter). But like all fruit preserves, marmalade is made with a lot of sugar.
So, healthwise it’s hard to recommend marmalade. But in the COVID-19 quarantine world, if we all began baking bread last spring, then why not continue to entertain ourselves in quarantine by learning to make fruit preserves, which go so nicely with bread? And since it’s winter, the fruit in greatest abundance is citrus.
Worth the effort
Making marmalade is a lot of work, perhaps more than the average fruit preserve; but the color and flavor can definitely brighten up a gray winter morning and give you a reason to get out of bed.
For Christmas, my friend in Seattle gave me a copy of a book by a local chef (Yossy Arefi) called “Sweeter off the Vine.” It’s divided by seasons and many of the winter recipes involve citrus; and for some reason the marmalade recipe really reached out to me.
I made a batch. I wouldn’t do it every week, but it’s delicious and I recommend it if you have several hours to devote to lavishing attention on a few pounds of citrus.
The recipe calls for blood oranges and Meyer lemons, which I found at a Trader Joe store last week. You can use any citrus, even clementines or grapefruit. The blood oranges of course add spectacular color; and the Meyer lemons (which you can often find at Stop & Shop in North Canaan at a reasonable price) have a much softer, thinner skin that’s easier to work with. Whichever fruit you use, the thinner the skin and the plumper the fruit, the easier and more delicious your marmalade will be.
Not sugar-free
This recipe calls for 2 pounds or about nine blood oranges; 1 pound or about four Meyer lemons; one regular lemon; and 5 cups of sugar (yes, it’s a lot).
You’ll note that you don’t need to use pectin in this recipe, but you will want to get citrus fruit that has seeds in it (the pectin is in the seeds).
This will make lot of jam, so you’ll want to use canning jars with fresh sealing lids to preserve it. I use the 4-pint Ball jar known as the 125. I filled about six of them, and had about 2 cups of jam left to put in a regular jar that I did not “preserve.”
Before you get going on the fruit, either clean the jars in your dishwasher so they’re hot and sterile or boil them for 10 minutes.
You’ll need a very large, clean pot for boiling the jars after they’ve been filled; a clean funnel; some paper towels; and if possible a pair of canning tongs to lift the jars.
The tedious preparation of the fruit
Scrub your fruit and then use a juicer to get all the juice and most of the membrane out of the fruit.
Toss out the membrane but keep all the seeds.
Save the juice, of course.
After juicing, you should have a couple dozen half rounds of citrus. I cut each half round into three pieces and then used a sharp knife to carefully slice away the bitter white pith on the inside of the peel.
It’s tedious but necessary; do it while you listen to a podcast or watch a movie. The less bitter, spongy pith on your peel, the better your marmalade will taste.
The next step is equally tedious: You need to take your scraped peels and slice them as thin as possible, as thin as blades of grass or hay. Don’t worry about the length; long strands are actually kind of pretty.
Boil the rinds
If you have an InstantPot, now is the time to get it out: You need to boil the peel strips in 2 quarts of water (8 cups) until they’re tender and almost translucent — which can take up to an hour if you do it on your stovetop.
If you have an InstantPot, combine the water and peels and cook them on high pressure for 10 minutes, then quick release the pressure. If you don’t, use a large nonreactive pot and boil them lightly until they’re ready. You’ll need about 3/4 cup of the cooking liquid, so keep an eye on the pot and make sure you don’t boil away all the liquid. That’s one advantage of the InstantPot: Your liquid won’t boil away.
When they’re tender and almost translucent, rinse the peels in cool water to stop them from cooking any more.
At this point your jars should be clean and hot and ready to take out of the dishwasher; put them on a cookie sheet and put them in a 200 degree oven, so they’re warm when the jam is ready: If you put hot jam in a cool jar, the glass will crack.
The next two steps have to be done on the stovetop. First, take your giant pot and fill it with enough that your jars will be submerged. Start it boiling so it’s ready for canning as soon as the marmalade is done cooking. Once it’s boiling, reduce it to a simmer.
In a large pot that has a ceramic or other nonreactive surface, combine the citrus peels, the citrus juice (from way back in step one), the sugar, the citrus seeds (tie them up tightly in cheesecloth) and 3/4 cup of the cooking liquid.
Bring it all to a rolling boil (very big bubbles but not foaming) and keep cooking for about 30 minutes. At this moment, it’s great to have a cooking thermometer, to check when it reaches 220 degrees.
If you don’t have a thermometer, put some spoons in your freezer and then test a spoonful of marmalade at a time by putting it in the freezer for a few minutes to see if it gels up. I don’t personally find this method works very well but …
In which we say ‘carefully’ again and again
Once your marmalade is done, turn off the stove and take your tray of canning jars out of the oven.
Carefully spoon the jam into the jars, leaving a quarter inch of air at the top. Wipe the top and sides of the jars carefully with a wet paper towel; if there’s jam overflow, your jars won’t seal.
Carefully place your jars in the simmering water in your big pot. You don’t want them to tip because you don’t want any jam to spill on your jar, which could keep the jar from sealing.
In a perfect world, you should have a trivet at the bottom of your big canning pot so your jars don’t touch the pot surface, which can cause them to break. This sounds much fussier and harder than it actually is; I didn’t use a trivet and I did tip my jars over as I was putting them in the pot, and it was fine — but it’s possible that I just got lucky.
Return the heat to high so your water is boiling vigorously again, then boil your filled jars for 10 minutes.
Remove them carefully and set them down in a spot that’s relatively not sunny and relatively cool, which at this time of year is pretty much anyplace in my kitchen. Don’t move the jars for 12 hours, so you don’t ‘“break” the set of the marmalade or the seal on the jars.
If at the end of that time the lids aren’t sealed, clean the lids and jars again and boil them again for another 10 minutes. If your marmalade didn’t set, I suppose you could pour it all back in a clean pot and boil it down some more.
I always feel like preserving jars of food is very intimidating and time consuming, but it really is very easy. You just boil your jars for 10 minutes. Done. But it does help if you prepare your jars correctly and have the right tools. If you want to learn more about canning, go to the National Center for Home Food Preservation website at https://nchfp.uga.edu.
The Jan. 7 print edition of The Lakeville Journal and Millerton News had a recipe error. It said the marmalade should be kept at a rolling boil with "very big bubbles but foaming.” It should have said, “but not foaming."
Christian Murray & Aly Morrissey
Traffic was diverted near Wells Hill Road after a crash closed part of Route 112 Friday afternoon.
A van crashed into a utility pole on Route 112 near Wells Hill Road Friday afternoon, leaving the driver hospitalized in serious condition and forcing the highway to close for several hours.
The crash was reported at approximately 3:20 p.m., according to Connecticut State Police Troop B.
Police said a Ford Transit van struck a utility pole and the driver was transported to a hospital with serious injuries. The identity of the driver and the extent of the injuries had not been released Friday evening.
A second vehicle, a Volkswagen Jetta, veered off the road in an attempt to avoid the crash, according to state police. The driver of the Jetta was not injured.
Route 112 remained closed between Race Track Road and the Route 7/112 intersection into the early evening, according to Troop B, while emergency crews responded and Eversource Energy workers repaired the damaged utility pole.
Millbrook resident Will Dore said he believes he arrived on the scene soon after the accident occurred. Dore was on his way to Housatonic Valley Regional High School when he was delayed by road closures.
“I was taking my daughter to her dress rehearsal for her dance recital and we were delayed because of the road closures,” he said. “I hope those involved are ok."
Mary Close Oppenheimer
Renee Wilcox
If you’ve ever wandered through Paley’s Farm Market, you probably know Renee Wilcox. For thirty years, she has been greeting you with unmistakable warmth—always ready with a smile. Renee grew up in Millerton, but it was in Salisbury that her family found something they’d never had before: a true sense of home. In 2003, she and her husband Bill were living in Millerton, but Bill—a volunteer with the Lakeville Hose Company—was already part of Salisbury life. When the Salisbury Housing Trust finished eight new homes on East Main Street (Dunham Drive), Renee and Bill were the first to sign on.
The story of those houses is really a story about the best parts of our community. Richard Dunham and his wife, Inge, along with the Housing Trust board, poured years of energy and hope into the project. Renee can’t help but light up when she talks about the people who helped her family settle in. Digby Brown came by to install appliances and bathroom cabinets; Barbara Niles spent hours painting; Carl Williams assembled bunk beds for the kids. Rick Cantele, at Salisbury Bank, helped them with their finances so they could qualify for a mortgage, while neighbors arrived at their door with fruit baskets and welcoming words.
For the Wilcox family, owning a home in Salisbury changed everything. The house gave them more than just a roof; it was a dream come true. Renee says, “My son—now thirty-three—was slipping through the cracks at school. He is now an avid reader. The schools have made all the difference.” When Bill suffered a serious workplace injury in 2023, the community they’d come to love rallied around them. Local businesses, friends, and neighbors showed up, offering help in big and small ways. “We are so grateful to live in this community,” Renee says, “I can’t even put into words how much it meant to us.”
But not every family is so lucky. Renee hears all the time from people from all walks of life who are upset that their kids can’t afford to live here. The numbers tell a tough story—sky-high home prices, almost no rentals, and over 100 families on a waitlist for an affordable apartment. The result? We have lost a whole generation of young people in our community.
Renee’s story is a reminder that community isn’t just about geography—it’s about making space for each other. If we want to keep that spirit alive, we need to fight for more affordable homes, more welcoming front doors, and more stories like hers.
Mary Close Oppenheimer is a member of the Salisbury Affordable Housing Commission.
Aly Morrissey
Heavy stone garden ornaments, a specialty of Judy Milne Antiques from Kingston, at Trade Secrets 2025.
Tucked away on Porter Street in downtown Lakeville, Project SAGE is an unassuming building from a street view. But cross the threshold a week before Trade Secrets — one of the region’s biggest gardening events, long associated with Martha Stewart and glamorous plants of all varieties — and you’ll find a bustling world of employees and volunteers getting ready for the organization’s most important event of the year.
“It’s not usually like this,’ laughed Project SAGE director Kristen van Ginhoven. “But with Trade Secrets just around the corner, it’s definitely like this.”
Van Ginhoven points to towers of boxes containing event programs, various ribbons, elegant decor and stacks of magazines, all in preparation for the event.
Project SAGE will celebrate its 26th year hosting Trade Secrets, but it’s so much more than a garden event.
“It’s a fundraiser for domestic violence prevention and intervention,” van Ginhoven said. “Anybody who attends knows they’re supporting a really meaningful and important cause.”
The fundraiser accounts for at least 30 percent of the organization’s overall budget, she said, and attracts around 3,000 people from across the region each year, creating an unmatched opportunity for Project SAGE to share its mission and generate support.
The event, though expensive to produce, generates enough income to significantly support Project SAGE’s direct services and prevention services.
Officials said a wave of new underwriters have emerged this year.
“We’re very grateful, because we live in a time when funding is uncertain,” van Ginhoven said.
Hundreds of copies of the annual Trade Secrets guide sat at Project SAGE headquarters, ready for distribution at the event. The book doubles as a domestic violence resource, complete with warning signs, myth-busting information and scripts for difficult conversations.
Volunteers will be present throughout the event to connect with community members. Each volunteer must be certified as a domestic violence counselor in order to work with Project SAGE.
“It means they can help us drive clients, move clients, take them to appointments or the grocery store,” van Ginhoven said.
Project SAGE officials said education about domestic violence should start early. The organization has developed a comprehensive curriculum spanning early childhood through grade 12 and visits schools throughout the region. The class of 2026 will be the first graduating class at Housatonic Valley Regional High School to have received all four years of training from Project SAGE.

The organization’s partnerships extend throughout the region and include on-site training in schools and nonprofit organizations, including the Sharon Playhouse. Community support also goes directly to Project SAGE, including a recently donated array of colorful gift bags bearing positing affirmations and filled with toiletries and basic necessities from students at the Frederick Gunn School in Washington, Connecticut.
The people who visit Project SAGE have often left uncomfortable or dangerous situations and leave without any belongings.
“Some of them have nothing,” van Ginhoven said. “They just show up because they had the courage to leave.”
Project SAGE staff say many referrals come through local hospitals, police and sister agencies.
The organization serves people in Connecticut, Massachusetts and New York.
With the stress of event planning mounting, van Ginhoven spent a “previous life” preparing for this exact moment. She spent 30 working at the intersection of arts and activism, having co-founded WAM Theatre, a Lenox-based organization focused on stories and issues affecting those who self-identify as women and girls. During her tenure, WAM donated $100,000 to 25 local and global organizations working toward gender equity in areas such as girls’ education, teen pregnancy prevention, gender-based violence, sexual trafficking awareness and midwife training.
“I love the adrenaline of putting on a show,” van Ginhoven said with a laugh. With the help of volunteers and organizers, she said she isn’t bothered by the stress.
“The show will go on,” she said.

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Jennifer Almquist
Caroline Kinsolving and Gary Capozzielo at home in Salisbury with their dogs, Petruchio and Beatrice
"He played his violin, I worked on my lines, we walked the dog, and suddenly we were circling each other perfectly."
Caroline Kinsolving
Actor Caroline Kinsolving and violinist Gary Capozziello enjoy their quiet life with their two dogs in Salisbury, yet are often pulled apart to perform on distant stages in far-flung cities. Currently, the planets have aligned, and both are working in Hartford, across Bushnell Park from one another. Bridgewater native Kinsolving is starring in “Circus Fire,” the current production of TheaterWorks Hartford, while Capozziello is a violinist and assistant concertmaster of the Hartford Symphony Orchestra. While Kinsolving hates being away from home, she feels the distance nourishes their relationship.
“We are guardians of each other’s confidence and self-esteem,” she said.
“We met during the pandemic, a bleak time,” Kinsolving said. “On our first date, we met at The Hickory Stick Bookshop and walked outside six feet apart. We fell in love.”
They lived in a tiny studio near Averill Farm in Washington, Connecticut.
“He played his violin, I worked on my lines, we walked the dog, and suddenly we were circling each other perfectly,” Capozziello said with a laugh. “When I told her I was a violinist, she mentioned ‘Appalachian Spring’ by Aaron Copland. I sent her a recording of me playing it, and it became our song.”
“For our wedding, we wanted all our friends and family out in the field listening to that music,” Kinsolving said. Capozziello’s friends from Orchestra New England performed the piece at their wedding.
“Circus Fire,” written by Connecticut’s own Jacques Lamarre and directed by Jared Mezzocchi, is a multimedia world-premiere tribute to the Hartford Circus Fire. On July 6, 1944, the big top of the Ringling Bros. and Barnum & Bailey Circus caught fire, killing 167 and injuring 700 in Connecticut’s worst fire disaster.
Capozziello, who grew up in Fairfield, began: “I came from very limited means, though my parents gave me the kind of support that mattered most. I had a hard time in school. My music teachers, noticing my knack for music, kept me in school.” As he became a teenager, he realized how demanding classical violin truly is. “I had the honor of playing in a master class for Isaac Stern when I was 18,” he said. “That was the wake-up call. He was relentless with my intonation, telling me I must ‘feel the fire in my belly.’”
At SUNY Purchase, he “met a wonderful violin teacher who taught me to play, study and practice five hours a day.” After studying at the New England Conservatory, Capozziello earned his doctorate from The Hartt School in 2018. He now teaches at The Hotchkiss School and performs with the Hartford Symphony.
He explained that his role as assistant concertmaster is the direct line between conductor and musicians, and that the orchestra is “a family dynamic, a democratic unit, truly a living, breathing organism.”

On May 2, Capozziello was soloist with Orchestra New England, performing the world premiere of Neely Bruce’s “Concerto for Violin,” along with “The River” by Jan Swafford and Aaron Copland’s “Appalachian Spring” at Battell Chapel at Yale.
“I care about bringing classical music into communities and spaces where people may not expect it,” said Capozziello.“Music is most powerful to me when it feels alive, humanand accessible, not distant or formal.”
For 20 years, Kinsolving has acted in film, television and theater in London, New York and Los Angeles. “I was first onstage at Washington Montessori School playing Peter Pan,” she said. “I improvised a line, got a laugh and liked the feeling.”
She enjoys performing Shakespeare. “I love Titania’s monologue because it speaks to our current climate crisis. Lady Macbeth surprised me. I fell in love with her while I was doing it. I could play those scenes forever; so much range and depth to explore,” she said.
Kinsolving added, “I love Shakespeare’s comedies for the fun and rhythm. I have loved Rosalind, Viola, Olivia, Helena and Kate, yet the top of my bucket list is Beatrice. Each character reflects a shade of my soul. Shakespeare had the brilliance to illuminate them. If I ever get a tattoo, it will be a list of their names.”
Kinsolving, whose parents, poet Susan Kinsolving and author William Kinsolving, live in Lakeville, studied at Milton Academy, universities in China, and Vassar College. Her theater training includes Stella Adler Studio of Acting, Royal Academy of Dramatic Art in London, Yale Drama Intensive and she is currently studying online through Juilliard.. She founded Theatre for Good, which donates its proceeds to charity.
Both artists are looking forward to June, when they will have more time to spend with their dogs.
D.H. Callahan
Esther Williams in “Million Dollar Mermaid” (1952).
For decades, Esther Williams was one of Hollywood’s brightest stars, but the swimming sensation of the silver screen has largely faded from public memory — a disappearance that intrigued Millerton filmmaker Brian Gersten and inspired him to revisit her legacy.
As a millennial, Gersten grew up largely unaware of Williams’ influential career. His teen years in Chicago were spent with friends who obsessed over movies, spending hours at their local independent video store,and watching anything that caught their eye. Somehow, though, they never ventured into the glossy world of synchronized-swimming musicals of the 1940s and ‘50s.
Gersten’s life changed when he first saw the documentary “Hoop Dreams,” which follows two young Chicago basketball players as they’re groomed and recruited by scouts with hopes of college stardom – and possibly the NBA. These boys grew up just 40 minutes from Gersten’s home, yet their world felt far away. The film’s power pushed him to take his love of movies to the next level.
After earning a bachelor’s degree in journalism from the University of Colorado, Gersten realized documentaries were his passion. He enrolled at the Salt Institute for Documentary Studies in Portland, Maine before heading to Wake Forest University in North Carolina, where he earned an MFA in documentary film.
Since then, Gersten has made a series of short, often heartwarming documentaries on subjects ranging from pigeon enthusiasts and hollerin’ competitions to the history of bowling in America and even Balloon Boy, the nickname for Falcon Heene, the child at the center of a bizarre media frenzy.
When he’s not making his own films, Gersten often edits and helps structure other projects, including the cycling documentary “Enter the Slipstream” and “Radical Wolfe,” a profile of writer Tom Wolfe.
It was while editing one of these projects that Gersten first encountered Williams.
“Who was this figure? What was going on in these films?” he wondered.
What he learned fascinated him. Williams starred in over 30 movies despite having no formal acting training. A champion swimmer, she made the 1940 U.S. Olympic team, but when the games were canceled because of World War II, Metro-Goldwyn-Mayer saw an opportunity.
Studio scouts recruited Williams, and she took to film like a fish to water. Her confidence, athleticism and, crucially for Hollywood, photogenic looks lit up the silver screen. In 1944, “Bathing Beauty” rocketed her to stardom.
For nearly two decades, Williams starred in one or two films a year, including “Million Dollar Mermaid” and “Skirts Ahoy!”. But as Hollywood turned toward grittier fare, synchronized-swimming spectacles fell out of fashion.
Williams stepped away from the camera, and her fame slowly receded — until Gersten stumbled across a clip and dove in.
Gersten’s short documentary, “Hollywood’s Mermaid” (2026) will screen alongside “Bathing Beauty” (1944) at 7 p.m. Saturday, May 16, at The Moviehouse in Millerton. It will also screen later this month at the Berkshire International Film Festival. Tickets are available at themoviehouse.net.
Natalia Zukerman
Nate King, “When I Was Younger And Now That I’m Older,” 2026, Digital projection, digital animation, photography.
The Wassaic Project, the 8,000-square-foot, seven-story former grain elevator transformed into a vibrant arts space, opens its 2026 Summer Exhibition, “Because, now is the time of monsters,” on Saturday, May 16, from 3-6 p.m. at Maxon Mills, launching a season-long presentation featuring 39 artists working across installation, performance, video and sculpture.
The opening celebration will include an afternoon of exhibitions and live programming throughout the historic mill building and its surrounding spaces. Gallery and Art Nest hours run from 12-6 p.m., with special presentations scheduled throughout the day.
Highlights include “Life’s a Game, Boy,” an end-of-year exhibition by the Wassaic Project’s JV and varsity art clubs (4-6 p.m.), showcasing work by students in grades 5-12 from across the region. At 4:30 p.m., artist Ace Lehner presents “Barbershop: The Art of Queer Failure,” a participatory performance and installation that reimagines the barbershop as a space for queer world-making through improvised haircuts and collaborative exchange. Haircuts will be given on a first-come, first-served basis.
In the evening, artist Nate King will present “When I Was Younger and Now That I’m Older” (8-10 p.m.), a projection work that transforms the facade of Maxon Mills into a shifting visual field of memory, geometry and childhood imagery, reflecting on time, age and perception.
The exhibition, organized by the Wassaic Project, will be on view through Sept. 12 and brings together a wide range of contemporary artists working in and around the Hudson Valley region. More information is available at wassaicproject.org.

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