Eating invasives: Sustainability and indulgence unite at Swyft for Green Crab Week

Green crab arancini, with crab provided by Wulf’s Fish and napa cabbage from Rock Cobble Farm.
Allison Mitchell

Green crab arancini, with crab provided by Wulf’s Fish and napa cabbage from Rock Cobble Farm.
KENT — Kent’s New American tavern Swyft had an unusual addition to its menu of locally-sourced, elevated fare last week – the European green crab, an invasive crustacean that has wreaked havoc on New England’s fisheries and coastal ecosystems, but which also happens to be very tasty.
“People just don’t know that they’re delicious,” Executive Chef Ryan Carbone said during a moment of respite between the Friday, June 27, lunch and dinner rushes. “They can be eaten and we can do our part to control the population to a degree.”
What brought this unlikely ingredient into Swyft’s kitchen was an initiative called Green Crab Week, which took place from June 20-29. The yearly event is an exposition in which gastronome-meets-sustainability nonprofit GreenCrab.Org partners with restaurants, fishmongers, fisherman and other seafood-oriented organizations to demonstrate the culinary versatility of this small but ecologically devastating crab.
Native to the eastern North Atlantic, the green crab was introduced to New England waters in the early 19th century, likely brought over in the ballasts of European merchant ships. Since then, it has established itself along the coast from South Carolina to Newfoundland, severely impacting eelgrass habitat and shellfish populations throughout its new range. It has also found a footing on North America’s west coast, Australia and South Africa, and is expected to push even further afield as climate change alters ocean temperatures and ecosystems.
Swyft was one of three Connecticut restaurants — and the only in the interior — to participate in Green Crab Week out of more than 75 businesses along the East Coast. Other partnering establishments were BLDG, in New Haven, and The Shipwright’s Daughter in Mystic. Oakville, Connecticut’s seafood purveyor To The Gills also joined in.
Carbone said David Standridge, founder and executive chef at the sustainable seafood-focused Shipwright’s Daughter, embraced the green crab at his restaurant early on. Carbone cited Standridge, alongside a Boston-based fish wholesaler he uses called Wulf’s Fish that regularly stocks the crab, as his inspiration for taking part in this year’s Green Crab Week.
“I just wanted to do our part in the Northwest Corner,” he said.
While it’s Swyft’s first foray into Green Crab Week, Carbone affirmed that sustainability and environmental consciousness fit firmly into the restaurant’s ethos, which it shares with its hyperlocal tasting-menu restaurant next door, Ore Hill. Protecting the land that provides the food, and the livelihoods of those who harvest it, is central to a responsible and respectful chef’s mission, he said.
And when it comes to seafood, it’s personal: “It’s my favorite thing to cook. It’s my favorite thing to eat. And all the things we love to eat in New England — the lobsters, the clams, what have you —are affected by this green crab population.”
Carbone said he hopes a sustaining green crab fishery develops in the region, not only to keep their numbers in check but also because they’re simply a great addition to the kitchen.
For Swyft’s crab week menu, Carbone opted to make a stock to act as a risotto base – a method which uses the entire animal and doesn’t require the wasteful and time-consuming process of picking meat from the small crustaceans.
Carbone’s stock crushed the meat and shells together in a boil flavored with aromatics like onion and garlic alongside “a couple kinds of seaweed to reinforce that ocean flavor.”
The result was a “really, really aromatic, flavorful stock” that was used to cook the risotto that would be deep fried into arancini for an appetizer or shared plate. The fried risotto balls were served on a bed of seaweed aioli and vinegar-chili dressed napa cabbage sourced from the Ore Hill & Swyft-owned Rock Cobble Farm just several miles down the road in South Kent.
The experience wasn’t only gastronomic — servers chatted with guests about the species and GreenCrab.Org’s work. At the meal’s end, informational cards prepared by the nonprofit were dropped with the bill so that diners returned home with more than just a sated palate.
While Green Crab Week is over, Carbone said his time with the invasive has just begun: “It’s a versatile ingredient, and I’m really excited to dig in after this week and start to use it and incorporate it into more of my food.”
The following information was provided by the Connecticut State Police at Troop B. All suspects are considered innocent until proven guilty in a court of law.
Warrant arrest
On the evening of Dec. 12, troopers arrested Douglas Palmer, 34, of Colebrook on an active arrest warrant relating to an incident that occurred on March 7 on Twin Lakes Road in Salisbury. He was arrested on two counts: “offer to make or make any home improvement without having a current certificate of registration,” and “failure to refund the amount paid for a home improvement within 10 days of a written request.” Palmer was released on a $1,500 non-surety bond and is scheduled to appear at Torrington Superior Court on Dec. 19.
Disturbance yields arrest
On Dec. 13, troopers were dispatched to Locust Avenue in Salisbury on the report of an active disturbance. While investigating, troopers discovered that Tina Humes, 48, of Salisbury had an active warrant out for her arrest for violating probation. Humes was held on a $15,000 cash bond and was transported to Torrington Superior Court for her arraignment on Dec. 15.
Collision with parked vehicle
On the afternoon of Dec. 14, Jeremy Glass, 32, of Suffield, Connecticut was parked on the eastbound shoulder of Cornwall Bridge Road near the intersection with Herrick Road. Michael Fass, 44, of New York City, was traveling east on Cornwall Bridge Road and collided with the rear of delivery Ford Transit T-350 that Glass drove in his leased Hyundai Ioniq 5. All parties were evaluated by Sharon EMS but were found to have no apparent injury. Fass was issued an infraction for distracted driving other than the use of a mobile phone.
Snowy slide-out
Early in the morning on Dec. 14, Nelfy Veizaga Montano was traveling west on Johnson Road in Falls Village on snowy roads when she slid off the roadway while negotiating a downhill curve. She was uninjured in the incident, but her Honda CRV was disabled. She was ultimately issued a written warning for traveling too fast for conditions.
Downtown Lakeville accident
On the afternoon of Dec. 14, Alison Holmes, 25, of Lakeville was driving east on Main Street in Lakeville near the intersection with Bostwick Street when she veered off the road, striking a Department of Transportation-owned bridge. The Subaru Outback she was driving was disabled in the accident, but Holmes reported no injuries. She was issued an infraction for failure to maintain lane.
Car vs. utility pole
Early in the morning on Dec. 15, Enrique Hairol Ramirez Pula, 48, of West Springfield, Massachusetts was driving south on Route 7 near the intersection with Undermountain Road in Falls Village. While attempting to navigate a downhill curve, he drifted across the center line and attempted to recover, subsequently overcorrecting and veering off the roadway, ultimately striking a utility pole. The vehicle was disabled but he was uninjured in the accident, for which he was issued a written warning for failure to maintain lane.
The Lakeville Journal will publish the outcome of police charges. Send mail to P.O. Box 1688, Lakeville, CT 06039, Attn: Police Blotter, or email editor@lakevillejournal.com
Principal Leanne Maguire added a bit of seasonal excitement to the morning drop-off Thursday, Dec. 18, at Cornwall Consolidated School. Dressed as an elf, Maguire was lifted above the school’s front entrance to greet arriving students. The tree bucket was provided by Gervais & Sons Inc.
Keri LaBella of Worcester, Mass., visited the donkeys at Trinity Retreat Center in early December during a women’s retreat.
CORNWALL — On a quiet patch of farmland where West Cornwall’s forested hills roll down toward the Housatonic River, six donkeys lift their heads at the sound of approaching footsteps. Their long ears twitch. Their breaths plume in the frigid air.
The soft brays that greet visitors to Trinity Retreat Center have become part of the landscape here — a warm, familiar sound that carries across the snow-covered fields as December settles in.
The 55-acre spiritual retreat and conference center offers space for rest, reflection and prayer.
For Trinity’s staff, volunteers and the thousands who pass through the retreat center each year, these rescued donkeys have become far more than barn residents guarding the center’s flock of 32 chickens from predators.
They are companions, teachers and symbols of resilience. And at Christmastime, they serve as a living reminder of the season’s most enduring themes: humility, hope and the beauty of second chances.
“The donkeys have an incredible intuition,” said Jason Coppola, director of the retreat center. “They can feel a person’s energy and when they sense people are in need, they tend to gravitate towards them.”
The donkeys, which today live peacefully in West Cornwall, did not begin their lives in such calm surroundings. Their histories, while varied, share a somber thread: all were rescued from kill pens, the last stop for animals before being shipped for slaughter overseas. Donkeys, especially, are at risk because their hides are used to produce a gelatin-based traditional medicine.
Eight years ago, Trinity’s leadership learned that a group of donkeys had been saved from these conditions and were in immediate need of placement. What began as a simple sheltering effort quickly grew into something deeper.
“They arrived frightened, confused and unsure of people,” Joseph Rose, the center’s former co-director who rescued the donkeys, said in an interview conducted shortly after their arrival.
“They had good reason. But one of the most beautiful things has been watching them learn to trust again.”
Some donkeys were severely underweight, including two that were later found to be pregnant. Others arrived with untreated injuries or chronic hoof problems. With patience, veterinary care and daily interaction from staff and volunteers, the animals gradually emerged from their fear.
As the donkeys healed, their presence began to shape the experience of the people who come to the retreat center seeking rest and reflection.
“A lot of our retreatants are generally here to help process through things and try new things,” said Laura Alexander, the retreat center’s facilities and farm manager who has tended to the donkeys since shortly after their arrival.
Today, each donkey — Marge, Lisa, Maggie, Fern, Francine and Buster — has a distinct personality. The gentle one that prefers long quiet walks, the inquisitive one that nudges visitors for scratches, the matriarch that keeps watch over the herd, the youngster that still bounds with playful energy.
On a recent weekday in early November, Keri LaBella of Worcester, Massachusetts, and about two dozen others on a women’s retreat visited the donkeys during early afternoon feeding time as part of the farm tour. As daylight dwindled, she made a solo return,

While stroking the ear of a donkey that had leaned in toward her, LaBella noted that in an era when holiday celebrations can feel rushed and commercialized, this quiet ritual, still, earthy and unadorned, offers something rare: presence. “It’s difficult not to feel something soften inside you.”
She said she feels connected to the donkeys “because they are a lot like me. You really can’t make them do something they don’t think is safe. They’re smart, curious and they love a challenge. And I just love the story of their rescue.”
Visitors of all ages, whether on retreat or neighbors in Cornwall, are invited to join daily donkey care sessions like brushing, walking, offering hay and fresh water and learning the animals’ rescue stories.
“One guest spent all day with the donkeys,” helping with feeding and brushing the animals’ coats, recalled Coppola, who lives on the property a stone’s throw from the barn.
Children visiting from the city, he explained, are so enamored by the experience that many of them return as volunteers.
“It’s wonderful to see the long-lasting impression they have interacting with the donkeys,” said Coppola of the visitors.
For children, meeting the donkeys is often a highlight of their stay.
For adults, the effect can be surprisingly emotional. Some visitors have shared that time with the donkeys helped them through grief, burnout or difficult transitions.
At Trinity, these moments are not separate from the spiritual experience — they are part of it.
‘An amazing 2025’
As of early December, there was no room at the center. Coppola said all 25 guest rooms were booked into the new year.
“It’s been an amazing 2025 and we expect 2026 to be even better. People come here and they leave a different person. It’s incredible what a difference we make in their lives.”
Alexander attributed the global pandemic to a lack of connection, impacting people’s body and soul.“A lot of people come to reconnect with God, themselves and the community. The relationship they have with the donkeys,” she said, “parallels people’s relationships with one another.”
With Christmas’ arrival in the Northwest Corner, the Trinity donkeys stand in their barn, warm against the winter wind, offering, simply by being themselves, a message the season has always shared: peace for the weary, hope for the searching and comfort for every traveler who steps inside.
Cellist Christopher Hoffman wrote and recorded his 13-track, solo record ‘Rex’ while living in the former home of Rex Brasher in Amenia, the self-taught painter who created 1,200+ watercolors of North American birds.
When cellist, composer and filmmaker Christopher Hoffman moved into the former home of Rex Brasher in Amenia in August 2023, he didn’t arrive with a plan to make an album about the painter and ornithologist who once lived there. But once he began to learn about the home’s former inhabitant — about his attention to land, to birds, to work done slowly and with devotion — he started to compose. “Rex,” Hoffman’s solo cello album (releases Jan. 16, 2026) is not a portrait of Brasher so much as an echo of a person, a place and a way of seeing the world.
Brasher (pronounced “brazier”) was born in Brooklyn in 1869, the son of a stockbroker whose passion for birds left a lifelong mark. After his father’s death, Brasher vowed to paint every bird in North America, and to do it from life. He eventually created more than 1,200 works, depicting birds with a precision and intimacy that bordered on obsession. Working largely outside the art world, Brasher lived on 116 wooded acres he called Chickadee Valley, where he painted, wrote and published his monumental 12-volume “Birds and Trees of North America.”

Founded in 2008 to preserve Brasher’s legacy and promote bird and habitat conservation through art, the Rex Brasher Association became an early point of connection for Hoffman, who composed and performed an original piece at the 2023 Rex Brasher Symposium just months after moving into Brasher’s former home. After many years in Brooklyn, Hoffman and his family had been looking for a change when they were shown the 116-acre property by association board member and architect Matthew Schnepf, who shared the history of the land and of Brasher himself.
“We’re the first renters outside of Rex’s family,” Hoffman said, explaining that the house is rented as part of an agreement to maintain the estate. Upon moving in, Hoffman dug deeper, purchasing the two-volume set of “Birds and Trees of North America” and immersing himself in Brasher’s world. Around the same time, and at the encouragement of composer, saxophonist and flutist Henry Threadgill, Hoffman debuted his first solo project at Tomeka Reid’s Chicago Jazz String Summit, planting the seed for the 13-track album that he then composed, recorded, mixed and mastered in Brasher’s home. The RBA (Rex Brasher Association) was equally supportive of the finished work, granting Hoffman permission to use Brasher’s artwork for the album, including the swallow-tailed kite painting that appears on the vinyl packaging. “You open up the record and the whole painting is right there,” said Hoffman.

Though birds are central to the record’s spirit, Hoffman deliberately avoided literal birdsongs. Instead, the cello is layered into dense soundscapes that suggest rather than illustrate. “There are tracks with tons of layered stuff where I guess you could hear bird sounds if you wanted to,” he said. Brasher’s refusal to accept approximation — destroying paintings when feathers didn’t look right — mirrored Hoffman’s own instincts as a musician. Tracks were built, discarded, rebuilt. Nothing stayed unless it felt true.
For Hoffman, “Rex” became a kind of reckoning. Though Hoffman has begun noticing birds with new intensity, using the Merlin bird app to identify some 30 species on the grounds, he says Brasher’s acuity still feels out of reach. “Even with binoculars, I still can’t see the details he was seeing.”
The album will be released Jan. 16 on Out of Your Head Records. Composed for acoustic and electric cello, the record reflects the solitude and intensity that shaped both Brasher’s vision and Hoffman’s process. “This guy was working so hard,” said Hoffman of Brasher. “And it was like, ‘Alright, Chris, get it together. Make the solo record you’re afraid to make.’”
To listen and purchase the album, go to: https://christopherhoffman.bandcamp.com/album/rex