
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."
SHARON — Angela Derrick Carabine, 74, died May 17, 2025, at Vasser Hospital in Poughkeepsie, New York. She was the wife of Michael Carabine and mother of Caitlin Carabine McLean.
A funeral Mass will be celebrated on June 6 at 11:00 a.m. at Saint Katri (St Bernards Church) Church. Burial will follow at St. Bernards Cemetery. A complete obituary can be found on the website of the Kenny Funeral home kennyfuneralhomes.com.
Sam Waterston
On June 7 at 3 p.m., the Triplex Cinema in Great Barrington will host a benefit screening of “The Killing Fields,” Roland Joffé’s 1984 drama about the Khmer Rouge and the two journalists, Cambodian Dith Pran and New York Times correspondent Sydney Schanberg, whose story carried the weight of a nation’s tragedy.
The film, which earned three Academy Awards and seven nominations — including one for Best Actor for Sam Waterston — will be followed by a rare conversation between Waterston and his longtime collaborator and acclaimed television and theater director Matthew Penn.
“This came out of the blue,” Waterston said of the Triplex invitation, “but I love the town, I love this area. We raised our kids here in the Northwest Corner and it’s been good for them and good for us.”
Waterston hasn’t seen the film in decades but its impact has always remained present.
“It was a major event in my life at the time,” Waterston said of filming “The Killing Fields,” “and it had a big influence on me and my life ever after.” He remembers the shoot vividly. “My adrenaline was running high and the part of Sydney Schanberg was so complicated, so interesting.”
Waterston lobbied for the role of the Pulitzer Prize-winning journalist for years, tracing his early interest to a serendipitous connection while filming in England. Even before Joffé’s production was greenlit, he had his sights set on playing the role. “I knew I wanted the part for years even before it was a movie that was being produced.”
What followed was not just critical acclaim, but also a political awakening. “The film gave all of us an intimate acquaintance with refugees, what it is to be a refugee, how the world forgets them and what a terrible crime that is.”
In Boston, at a press stop for the film, two women asked Waterston a pointed question: now that he knew what he knew, what was he going to do about it? “I said, ‘Well, you know, I’m an actor, so I thought I’d go on acting.’ And they said, ‘No, that’s not what you need to do. You need to join Refugees International.’” And join he did, serving on the organization’s board for 25 years.
Both Schanberg and Dith Pran, whose life the film also chronicles, were “cooperative and helpful … in a million ways,” Waterston said. Upon first meeting Pran, Waterston recalled, “He came up to me, made a fist, and pounded on my chest really hard and said, ‘You must understand that Sydney is very strong here.’ He was trying to plant something in me.”
There were more tender gestures, too. Schanberg used the New York Times wire to relay that Waterston’s wife had just given birth while he was filming in Thailand, adding to the personal and emotional connection to the production.
Though “The Killing Fields” is a historical document, its truths still resonate deeply today. “Corruption is a real thing,” Waterston warned. “Journalism is an absolutely essential part of our democracy that is as under siege today as it was then. It’s different now but it’s the same thing of ‘Don’t tell the stories we don’t want heard.’ Without journalists, we are dust in the wind.” Waterston added, “Democracy is built on the consent of the governed but the other thing it’s built on is participation of the governed and without full participation, democracy really doesn’t stand much of a chance. It’s kind of a dead man walking.”
When asked what he hopes the audience will take away from the screening, Waterston didn’t hesitate. “This is the story that puts the victims of war at the center of the story and breaks your heart. I think that does people a world of good to have their hearts broken about something that’s true. So, I hope that’s what the impact will be now.”
Tickets for the benefit screening are available at www.thetriplex.org. Proceeds support Triplex Cinema, a nonprofit home for film and community programming in the Berkshires.
Scott Reinhard, graphic designer, cartographer, former Graphics Editor at the New York Times, took time out from setting up his show “Here, Here, Here, Here- Maps as Art” to explain his process of working.Here he explains one of the “Heres”, the Hunt Library’s location on earth (the orange dot below his hand).
Map lovers know that as well as providing the vital functions of location and guidance, maps can also be works of art.With an exhibition titled “Here, Here, Here, Here — Maps as Art,” Scott Reinhard, graphic designer and cartographer, shows this to be true. The exhibition opens on June 7 at the David M. Hunt Library at 63 Main St., Falls Village, and will be the first solo exhibition for Reinhard.
Reinhard explained how he came to be a mapmaker. “Mapping as a part of my career was somewhat unexpected.I took an introduction to geographic information systems (GIS), the technological side of mapmaking, when I was in graduate school for graphic design at North Carolina State.GIS opened up a whole new world, new tools, and data as a medium to play with.”
He added, “When I moved to New York City, I continued that exploration of cartography, and my work eventually caught the attention of the New York Times, where I went to work as a Graphics Editor, making maps and data visualizations for a number of years.”At the New York Times, his work contributed to a number of Pulitzer Prize winning efforts.
In his work, Reinhard takes complex data and turns it into intriguing visualizations the viewer can begin to comprehend immediately and will want to continue to look into and explore more deeply.
One method Reinhard uses combines historic United States Geological survey maps with “current elevation data (height above sea level for a point on earth) to create 3-D looking maps, combining old and new,” he explained.
For the show at Hunt Library Reinhard said, “I knew that I wanted to incorporate the place into the show itself. A place can be many things.The exhibition portrays the exact spot visitors are from four vantage points: the solar system, the earth, the Northwest Corner, and the library itself.” Hence the name, “Here, Here, Here, Here.”
He continued, “The largest installation, the Northwest Corner, is a mosaic of high-resolution color prints and hand-printed cyanotypes — one of the earliest forms of photography. They use elevation data to portray the landscape in a variety of ways, from highly abstract to the highly detailed.”
This sixteen-foot-wide installation covers the area of Millerton to Barkhamsted Reservoir and from North Canaan down to Cornwall for a total of about 445 square miles.
For subjects, he chooses places he’s visited and feels deeply connected to, like the Northwest Corner.“This show is a thank you to the community for the richness that it has brought to my life. I love it here,” he said.
The opening reception for the show is on June 7 from 5 to 7 p.m. On Thursday, June 12, Reinhard will give a talk about his work from 5:30 to 7 p.m. at the library.“Here, Here, Here, Here” will be on display until July 3.
Scott Reinhard’s 16-foot-wide piece of the Northwest Corner is laid out on the floor prior to being hung for the show. L. Tomaino