Getting to know our green neighbors

Cover of "The Light Eaters" by Zoe Schlanger.
Provided

Cover of "The Light Eaters" by Zoe Schlanger.
This installment of The Ungardener was to be about soil health but I will save that topic as I am compelled to tell you about a book I finished exactly three minutes before writing this sentence. It is called “The Light Eaters.” Written by Zoe Schlanger, a journalist by background, the book relays both the cutting edge of plant science and the outdated norms that surround this science. I promise that, in reading this book, you will be fascinated by what scientists are discovering about plants which extends far beyond the notions of plant communication and commerce — the wood wide web — that soaked into our consciousnesses several years ago. You might even find, as I did, some evidence for the empathetic, heart-expanding sentiment one feels in nature.
A staff writer for the Atlantic who left her full-time job to write this book, Schlanger has travelled around the world to bring us stories from scientists and researchers that evidence sophisticated plant behavior. These findings suggest a kind of plant ‘agency’ and perhaps even a consciousness; controversial notions that some in the scientific community have not been willing or able to distill into the prevailing human-centric conceptions of intelligence.
Plants exhibit behaviors that appear as variations of our own: they communicate, but using chemicals that are expelled through the air or soil. They have perceptual abilities that can be correlated, with varying degrees, to our sound, feeling and sight, in some cases using the same or similar mechanisms as we do. The human body uses electrical currents, powered by electrolytes, to enable just about every bodily action — touch, movement, thought etc. Plants use this method as well.
We learn about a slug that from birth is programmed to find and eat a specific plankton. When it does, its color changes from its original brown to green and the slug is then able to photosynthesize, after which it never has to eat food for the rest of its life (is it now a plant or still an animal?) A vine whose leaves change shape to resemble those of the plant or plants it climbs on (can it ‘see’ and, if not, how does it know what to transform into?)
In researching and relaying these and other science-backed revelations, Schlanger calls into question the line drawn between the categories of animal and plant. We know that we exist in this world only because of plants, they create the air we breathe, they are the nutrients we eat. We are learning that our bodies contain a microbiome made up of bacteria, fungi and viruses that control much of our functioning. Yet humanity seeks to control plants in ways that are often at cross purposes to our very existence.
While retaining a journalistic dispassion, she makes the case for science to surmount the hurdle that language poses in the pursuit of expressing new findings and posits a worldview that does not put humans at the center. Currently, the institutions surrounding science are designed to be circumspect in their effort to ensure that findings are not just correct but indelibly reliable; a base to be built on by other scientists. Scientists and researchers whose discoveries are at odds with prevailing findings are at risk of losing credibility, funding and even their careers, often to find themselves (if they are still alive) proven correct decades later. Which calls into question the reliability of science’s erstwhile indelibility and makes a case for systemic changes to the institutions that power the scientific community.
“Biological life is a spiraling diffusion of possibilities, fractal in its profusion.”
Schlanger’s observations and hypotheses can themselves appear as fractals of her revelatory reporting of plant discoveries. Like the shape-shifting entities she writes about she finds that she too has changed.
Perhaps you can relate. Plants can change us, and not just when we eat them. Looking at them, from both far and from close, they provoke awe and wonder. Time spent in the woods begets a sense of oneness and interconnectedness and has been proven to improve our well-being. Schlanger’s book asks us to consider working with plants, to learn more about them and be open to the lessons they may have for us. After all, plants were here well before humans and have had more time to evolve. They may well be here after we are not. Who’s to say they aren’t really the ones running the show?
Dee Salomon “ungardens” in Litchfield County.
“Once Upon a Time in America” features ten portraits by artist Katro Storm.
The Kearcher-Monsell Gallery at Housatonic Valley Regional High School in Falls Village is once again host to a wonderful student-curated exhibition. “Once Upon a Time in America,” ten portraits by New Haven artist Katro Storm, opened on Nov. 20 and will run through the end of the year.
“This is our first show of the year,” said senior student Alex Wilbur, the current head intern who oversees the student-run gallery. “I inherited the position last year from Elinor Wolgemuth. It’s been really amazing to take charge and see this through.”
Part of what became a capstone project for Wolgemuth, she left behind a comprehensive guide to help future student interns manage the gallery effectively. “Everything from who we should contact, the steps to take for everything, our donors,” Wilbur said. “It’s really extensive and it’s been a huge help.”
Art teacher Lilly Rand Barnett first met Storm a few years ago through his ICEHOUSE Project Space exhibition in Sharon, “Will It Grow in Sharon?” in which he planted cotton and tobacco as part of an exploration of ancestral heritage.
“And the plants did grow,” said Barnett. She asked Storm if her students could use them, and the resulting work became a project for that year’s Troutbeck Symposium, the annual student-led event in Amenia that uncovers little-known or under-told histories of marginalized communities, particularly BIPOC histories.
Last spring, Rand emailed to ask if Storm would consider a solo show at HVRHS. He agreed.
And just a few weeks ago, he arrived — paints, brushes and canvases in tow.
“When Katro came to start hanging everything, he took up a mini art residency in Ms. Rand’s room,” Wilbur said. “All her students were able to see his process and talk to him. It was great working with him.”
Perhaps more unexpected was his openness. “He really trusted us as curators and visionaries,” Wilbur said. “He said, ‘Do with it what you will.’”

Storm’s artistic training began at New Haven’s Educational Center for the Arts. His talent earned him a full scholarship to the Arts Institute of Boston, then Boston’s Museum School, where he painted seven oversized portraits of influential Black figures — in seven days — for his final project. Those works became the backbone of his early exhibitions, including at Howard University’s National Council for the Arts.
Storm has created several community murals like the 2009 READ Mural featuring local heroes, and several literacy and wellness murals at the Stetson Branch Library in New Haven. Today, he teaches and works, he said, “wherever I set up shop. Sometimes I go outside. Sometimes I’m on top of roofs. Wherever it is, I get the job done.”
His deep ties to education made a high school gallery an especially meaningful stop. “No one really knew who these people were except maybe John Lennon,” Storm said of the portraits in the show. “It’s really important for them to know James Baldwin and Shirley Chisholm. And now they do.”
The exhibition includes a wide list of subjects: James Baldwin, Shirley Chisholm, Redd Foxx, Jasper Johns, Marilyn Manson, William F. Buckley, Harold Hunter, John Lennon, as well as two deeply personal works — a portrait of Tracy Sherrod (“She’s a friend of mine… She had an interesting hairdo”) and a tribute to his late friend Nes Rivera. “Most of the time I choose my subjects because there are things I want to see,” Storm said.
Storm’s paintings, which he describes as “full frontal figuratism,” rely on drips, tonal shifts, and what feels like emerging depth. His process moves quickly. “It depends on how fast it needs to get done,” he said. “Sometimes I like to take the long way up the mountain. Instead of doing an outline, I just start coloring, blocking things off with light and dark until it starts to take shape.”
He’s currently in a black-and-white phase. “Right now, I’m inspired by black and white, the way I can really get contrast and depth.”
Work happens on multiple canvases at once. “Sometimes I’ll have five paintings going on at one time because I go through different moods, and then there’s the way the light hits,” he said. “It’s kind of like cooking. You’ve got a couple things going at once, a couple things cooking, and you just try to reach that deadline.”
For Wilbur, who has studied studio arts “ever since I was really young” and recently applied early decision to Vassar, the experience has been transformative. For Storm — an artist who built an early career painting seven portraits in seven days and has turned New York’s subway corridors into a makeshift museum — it has been another chance to merge artmaking with education, and to pass a torch to a new generation of curators.
Le Petit Ranch offers animal-assisted therapy and learning programs for children and seniors in Sheffield.
Le Petit Ranch, a nonprofit offering animal-assisted therapy and learning programs, opened in April at 147 Bears Den Road in Sheffield. Founded by Marjorie Borreda, the center provides programs for children, families and seniors using miniature horses, rescued greyhounds, guinea pigs and chickens.
Borreda, who moved to Sheffield with her husband, Mitch Moulton, and their two children to be closer to his family, has transformed her longtime love of animals into her career. She completed certifications in animal-assisted therapy and coaching in 2023, along with coursework in psychiatry, psychology, literacy and veterinary skills.
Le Petit Ranch operates out of two small structures next to the family’s home: a one-room schoolhouse for animal-assisted learning sessions and a compact stable for the three miniature horses, Mini Mac, Rocket and Miso. Other partner animals include two rescued Spanish greyhounds, Yayi and Ronya; four guinea pigs and a flock of chickens.
Borreda offers programs at the Scoville Library in Salisbury, at Salisbury Central School and surrounding towns to support those who benefit from non-traditional learning environments.
“Animal-assisted education partners with animals to support learning in math, reading, writing, language and physical education,” she said. One activity, equimotricité, has children lead miniature horses through obstacle courses to build autonomy, confidence and motor skills.

She also brings her greyhounds into schools for a “min vet clinic,” a workshop that turns lessons on dog biology and measuring skills into hands-on, movement-based learning. A separate dog-bite prevention workshop teaches children how to read canine body language and respond calmly.
Parents and teachers report strong results. More than 90% of parents observed greater empathy, reduced anxiety, increased self-confidence and improved communication and cooperation in their children, and every parent said animal-assisted education made school more enjoyable — with many calling it “the highlight of their week.”

Le Petit Ranch also serves seniors, including nursing home residents experiencing depression, social withdrawal or reduced physical activity. Weekly small-group sessions with animals can stimulate cognitive function and improve motor skills, balance and mobility.
Families can visit Le Petit Ranch for animal- assisted afterschool sessions, Frech immersion or family walks. She also offers programs for schools, libraries, community centers, churches, senior centers and nursing homes.
For more information, email info@lepetitranch.com, visit lepetitranch.com, follow @le.petit.ranch on Instagram or call 413-200-8081.