
Before cutting down a bittersweet vine the Ungardener notices a Pandora Sphinx caterpillar on its way to a nearby Virginia creeper, which is part of its diet.
Photo by Dee Salomon
Most of us know that the expression ‘fall cleanup’ has become something of a misnomer. In our preparation for winter we are encouraged not to clean up the dead leaves or cut down plants as they become the winter homes for insects and other animals that keep the food chain of our habitats viable. This will look unkempt to some but may evoke a new, enlightened point of view as in ‘I understand things about nature that I did not before and have changed my behavior and broadened my aesthetic in response.” Or maybe you just want to save the fireflies. Admirable either way.
Habitats are delicate places where small changes have big impacts. We can augment birds’ essential insect diet by not shredding the leaves which on which next year’s insect eggs were laid. We can abet the spring awakening of pollinator bees that have moved into the hollow of goldenrod stems to ride out winter. The outcomes of collectively making small changes like these extend even to the human food chain. And the efforts made in the name of nature’s caretaking — however small — can also improve one’s mood and outlook.
The recent horrific news from the Middle East, on top of everything else going on in the world, sent me into an inertia powered by fear and depression. For two days I was unable to go outside for more than a dog walk. I recalled how I felt after the 9/11 attacks: a similar type of paralysis. At that time, the thing that got me back to myself was cleaning. Small tasks done meticulously: arranging drawers and closets, cleaning the floor, detailing the kitchen. At least I had control here when I had no control over the larger events that had sent me into that state of mind.
Reminded of that, I went outside to tackle more of my fall cleanup. Starting small, I concentrated on some bothersome plants that have been creeping into more space at the outside edge of the woods. One of these is a type of persicaria with small pink flowers that has efficiently spread outward into the lawn thanks to the lawnmower and crept into the woods by foot traffic. Oriental Lady’s Thumb Persicaria longiseta is a familiar plant to all of us and resembles a taller, native version, Persicaria pensylvanica.
Kneeling on a pad I pulled out five or six trugs-worth of the stuff. In its place I planted a native grass mix from Prairie Moon Nursery. It took me a couple of days to get this boring job done.
Something about the narrow focus and repetitive nature of the work seemed to be just what I needed.
Did I feel better? Of course! I was outside. I had accomplished a task. I had a sense of improving something; something I had control of. The persicaria will come back next year and the next; no doubt about that. But the effort has stopped it from spreading even more.
I recommend using this time of year to replace your old fall cleanup routine with invasive removal and planting of native perennials that require overwintering. Most herbaceous plants—native and not— have already gone to seed but those like the Persicaria longiseta are not gripping the soil and are easy to pull. Stiltgrass falls into that category. Young woody plants like burning bush are also easy to pull this time of year. In their place you can plant seed — maybe simply a shake of some aster seed off of a plant in your yard. Or seeds sourced from a reputable native seed company. Steer clear of wildflower mixes from big brands — I have noticed that they often contain non-native and even invasive seed. Ernst Seeds is a reliable source for native seeds with a helpful seed-finder tool on their website.
I will still spray the boxwood and holly with Wilt-Pruf and root prune a few shrubs I intend to re-situate in the spring. The dahlia tubers need to be dug up and stored and young trees need their tree guards installed. I have taken photos of areas I plan on changing a bit next year and will document my ideas so they are ready for spring action. There is still some time left to accomplish these tasks as well as those that will be helpful to our animal neighbors in our shared habitat.
Healing nature and ourselves.
Dee Salomon “ungardens” in Litchfield County.
SHARON — Angela Derrick Carabine, 74, died May 16, 2025, at Vassar 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