The mysteries of white flour and how it becomes the ‘staff of life’

Photo by Cynthia Hochswender

I used to think of white flour as the food equivalent of printer paper: White and bland and not very nutritious.
Two things have given me increased respect for the powdery white stuff.
One is that when bears break into our kitchens, they seem to always end up with white flour on their noses. To me that’s as if a burglar broke into your house and went straight for the white printer paper. It’s perplexing and intriguing and makes me wonder, “Hmmm, what is there about white printer paper that I don’t understand?”
The other is that, like all the rest of you, I started making sourdough starter and bread at the beginning of the COVID-19 pandemic. That wasn’t especially good timing, since of course both bread and starter require flour, and flour was in short supply until about two weeks ago.
Anyway, through a number of stealthy and clever maneuvers I have put together a large supply of King Arthur all-purpose flour, King Arthur bread flour, Maine Grains whole wheat flour and (as of last week) rye flour.
Creating new life
When you bake pastry, flour is just a means to an end: You need flour if you want to have cakes, cookies and pie crust.
When you make sourdough starter and you bake bread, you realize that flour is alive. Or rather (forgive me, I’m not a scientist): Flour used to be alive when it was wheat. It is no longer alive once it’s been milled into flour.
But something magical (Frankenstein’s monster?) occurs when you mix flour with water. The two of them combined entice bacteria to join them from the air and the result is a living, breathing substance called sourdough starter.
It’s important to note that good sourdough starter eats healthy bacteria that’s already in the air in your house (or your favorite bakery). There can also be bad bacteria on your flour, because wheat isn’t heavily cleansed before it is milled. That means it could be tainted with, for example, E. Coli from an animal relieving itself on a wheat stalk. For that reason, unless you’re a bear, you should not eat raw flour.
Wheat flour can, of course, also make anyone sick who is gluten intolerant. There are many other types of alternative flours. There isn’t room enough here to go into detail about all of them. But one thing I do feel confident about, even though I’m not a scientist, is that if you’re only vaguely gluten intolerant, your body will cope better with fresh bread, made either in a bakery or at home, rather than factory-made bread: The slower your flour transitions into bread, the easier it is for your body to absorb the gluten.
So many kinds of flour …
We are going to focus for the purposes of this article on the flours that lend themselves most easily to the creation of sourdough starter and, then, bread.
Last spring, I read multiple articles about people deciding to learn to bake bread during the COVID-19 quarantine. This led almost immediately to a shortage of flour, and also to a shortage of yeast for baking.
That kind of yeast comes in little cubes or packets. It’s a very easy, reliable method for making dough rise. It has been used for centuries all around the world and is especially useful for professional bakers, who need to wake up in the morning and make a set number of loaves that need to be more or less identical.
If you don’t have packaged yeast and if you are OK with your bread production being a little unpredictable, you can make sourdough starter and use it instead of yeast.
The process is very simple: You mix together water and flour and leave them out on the counter and, after a few days, you have starter and all you have to do is feed it daily with more flour and water. When you’re ready, you use it as the base for your bread dough.
It sounded simple, so I decided to try it myself. I figured then I could explain the technique to readers who were not able to find yeast but wanted to make bread.
That was back in about March. It’s now September and while I have managed to make excellent starter and, from it, really good bread, I have learned only one thing about making sourdough starter (and bread): It’s infinitely complicated and there are infinite ways to do it. Or rather, it’s incredibly simple and will work like a charm up until the minute that it stops working, and then you have to figure out another method.
Raising sourdough starter is like raising a child. Many people even animate their starter by giving it a name, or by taking it on vacation or sending it away to sourdough starter summer camp (not kidding).
It’s not necessary to get that wrapped up in your sourdough; and if you find it starting to take over your life, you can tuck it in the refrigerator. Once you do that, it’s like a houseplant and only needs to be fed and watered once a week.
I’m going to send you to the internet to get the instructions on how to make your starter. Again, they’re not complicated but every day is slightly different during the first week, and it would take up too much space here to explain it. I like the technique at Clever Carrot’s website (www.theclevercarrot.com “Beginner sourdough starter”). But there are lots of good methods out there. You can never go wrong with seeking guidance from the King Arthur Flour website, for example.
Helpful tips: What to buy
So I won’t tell you how to make starter from scratch — but I will tell you which supplies I’ve found to be useful.
Everyone who makes sourdough starter has their own things they like and methods they prefer.
But universally, one product that will make your bread-baking life easier is a small food scale. Scales are pretty similar, they all cost about $15 and they all do roughly the same thing. I bought one by Escali recently and it’s a cut above the other brands, in my experience.
Once you begin making starter, you’ll need to store it someplace. I have found that the Ball and Mason jars are too hard to clean; once the sourdough drips on your jar dry and get hard, they turn almost to stone. The Ball and Mason versions have a lot of pattern in their glass and once the sourdough gets into those nooks and crannies you almost need dynamite to get rid of it (or of course a long soak in warm water followed by a cleansing in the dishwasher).
I prefer the Weck jars, which are easy to clean and look nice in the kitchen (Weck 742 Mold Jar, .5 Liter; set of six: $40).
Which flours and why
Most important is your choice of flour and water.
I apologize to the planet and to all of us who are worried about its future but you really need to use a good quality bottled water for this; most tap water has bleach or other chemicals in it.
You also want a flour that doesn’t have bleach in it. Organic flours work well but aren’t essential, in my opinion.
I started out using King Arthur all-purpose flour, which worked great until it stopped working (bakers, by the way, prefer King Arthur because it has more protein than most of the other store brands and protein is very important to your bread and your starter).
My starter pooped out after a few weeks of just eating the all-purpose flour. I did some experiments and eventually found a very good organic whole wheat flour from Maine Grains. I shared some with my friend Anne, who reported that it made her starter go “berserk.”
That eventually pooped out too. Next I used a mix of 50% Maine Grains whole wheat and 50% King Arthur bread flour (which has even more protein than the all-purpose flour). I’m mixing it because I only have about 20 pounds of the Maine Grains, in my freezer, and I’m trying to make it last.
However, over the weekend I fed my starter some rye flour from Arrowhead Mills that I found at the Sharon Farm Market in the shopping plaza. The starter got very excited about the change in diet and got very big and bubbly on the first day, but then it calmed down on the second day.
The proof is in the bread, however, and the loaf I baked with that rye flour starter is especially delicious (photo above).
The bread I’ve been making with the whole wheat/bread flour starter has a definite sour tang to it, even though the dough itself is a mix of King Arthur all-purpose and bread flours.
The bread made with the rye starter just tastes deliciously like homemade bread. No tang.
I prefer it, honestly, to the bread made with the whole wheat-based starter. No doubt this will change over time —because the one constant in bread baking seems to be that nothing is constant.
Legal Notice
The Planning & Zoning Commission of the Town of Salisbury will hold a Public Hearing on Special Permit Application #2025-0303 by owner Camp Sloane YMCA Inc to construct a detached apartment on a single family residential lot at 162 Indian Mountain Road, Lakeville, Map 06, Lot 01 per Section 208 of the Salisbury Zoning Regulations. The hearing will be held on Monday, November 17, 2025 at 5:45 PM. There is no physical location for this meeting. This meeting will be held virtually via Zoom where interested persons can listen to & speak on the matter. The application, agenda and meeting instructions will be listed at www.salisburyct.us/agendas/. The application materials will be listed at www.salisburyct.us/planning-zoning-meeting-documents/. Written comments may be submitted to the Land Use Office, Salisbury Town Hall, 27 Main Street, P.O. Box 548, Salisbury, CT or via email to landuse@salisburyct.us. Paper copies of the agenda, meeting instructions, and application materials may be reviewed Monday through Thursday between the hours of 8:00 AM and 3:30 PM at the Land Use Office, Salisbury Town Hall, 27 Main Street, Salisbury CT.
Salisbury Planning & Zoning Commission
Martin Whalen, Secretary
11-06-25
11-13-25
Notice of Decision
Town of Salisbury
Planning & Zoning Commission
Notice is hereby given that the following action was taken by the Planning & Zoning Commission of the Town of Salisbury, Connecticut on October 20, 2025:
8-24 referral was deemed consistent with the Plan of Conservation and Development - For the use of town-owned land at 20 Salmon Kill Road, Salisbury for housing, recreation, and conservation. The property is shown on Salisbury Assessor’s Map 11 as Lot 26.
Any aggrieved person may appeal these decisions to the Connecticut Superior Court in accordance with the provisions of Connecticut General Statutes §8-8.
Town of Salisbury
Planning &
Zoning Commission
Martin Whalen, Secretary
11-06-25
Notice of Decision
Town of Salisbury
Inland Wetlands & Watercourses Commission
Notice is hereby given that the following actions were taken by the Inland Wetlands & Watercourses Commission of the Town of Salisbury, Connecticut on October 27, 2025:
Exempt - Application IWWC-25-75 by Elaine Watson to install a 4’ by 45’ removable dock adjacent to the high-water mark of Lake Wononscopomuc. The property is shown on Salisbury Assessor’s map 47 lot 11 and is a vacant parcel located between 123 & 137 Sharon Road, across from and associated with 126 Sharon Road. The owners of the property are Paul and Elaine Watson.
Approved with the condition that any additional permits required for this project are filed with the Land Use Office - Application IWWC-25-74 by Richard Riegel, Principal of Lime Rock Park II, LLC to reinforce compromised river bank and implement riparian restoration in partnership with Trout Unlimited. The property is shown on Salisbury Assessor’s map 04 lot 16 and is known as 497 Lime Rock Road, Lakeville. The owner of the property is Lime Rock Park II, LLC.
Approved - Application IWWC-25-72 by George Johannesen of Allied Engineering Associates, Inc. for an addition to the existing house, construct garage, relocate driveway, landscaping. The property is shown on Salisbury Assessor’s map 08 lot 03 and is known as 396 Salmon Kill Road, Lakeville. The owners of the property are Randall Allen and Margaret Holden.
Approved subject to conditions recommended by the Town Consulting Engineer and the relinquishment of permit 2024-IW-036 - Application IWWC-25-69 by Bob Stair to construct an addition to the existing house and driveway in the upland review area. The property is shown on Salisbury Assessor’s map 67 lot 07 and is known as 300 Between the Lakes Road, Salisbury. The owner of the property is 280 BTLR LLC.
Approved subject to conditions recommended by the Town Consulting Engineer - Application IWWC-25-73 by Hotchkiss School (Michael J. Virzi) for a restoration plan for the existing temporary dining building at the Hotchkiss School. The property is shown on Salisbury Assessor’s map 06 lot 09 and is known as 22 Lime Rock Road, Lakeville. The owner of the property is Hotchkiss School.
Any aggrieved person may appeal this decision to the Connecticut Superior Court in accordance with the provisions of Connecticut General Statutes §22a-43(a) & §8-8.
11-06-25
NOTICE TO CREDITORS
ESTATE OF
DEBRA ANN WHITBECK
Late of North Canaan
(25-00419)
The Hon. Jordan M. Richards, Judge of the Court of Probate, District of Litchfield Hills Probate Court, by decree dated October 16, 2025, ordered that all claims must be presented to the fiduciary at the address below. Failure to promptly present any such claim may result in the loss of rights to recover on such claim.
The fiduciary is:
Donna L. Cooke
65 Orchard Street
North Canaan, CT 06018
Megan M. Foley
Clerk
11-06-25
NOTICE TO CREDITORS
ESTATE OF
THOMAS CROSBY DOANE
Late of North Canaan
(25-00388)
The Hon. Jordan M. Richards, Judge of the Court of Probate, District of Litchfield Hills Probate Court, by decree dated October 9, 2025, ordered that all claims must be presented to the fiduciary at the address below. Failure to promptly present any such claim may result in the loss of rights to recover on such claim.
The fiduciary is:
Jase Doane
5 Clearwater Lane
East Hampton, CT 06424
Megan M. Foley
Clerk
11-06-25
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PUBLISHER’S NOTICE: Equal Housing Opportunity. All real estate advertised in this newspaper is subject to the Federal Fair Housing Act of 1966 revised March 12, 1989 which makes it illegal to advertise any preference, limitation, or discrimination based on race, color religion, sex, handicap or familial status or national origin or intention to make any such preference, limitation or discrimination. All residential property advertised in the State of Connecticut General Statutes 46a-64c which prohibit the making, printing or publishing or causing to be made, printed or published any notice, statement or advertisement with respect to the sale or rental of a dwelling that indicates any preference, limitation or discrimination based on race, creed, color, national origin, ancestry, sex, marital status, age, lawful source of income, familial status, physical or mental disability or an intention to make any such preference, limitation or discrimination.
Sharon, 2 Bd/ /2bth 1900 sqft home: on private Estate-Gbg, Water, Mow/plow included. utilities addtl. Please call: 860-309-4482.
Falls Village, CT
Saturday November 8 Tag Sale in the Barn: 91 Main Street in Falls Village 10 to 3 pm. Please Park in town parking available along Main St. Tools, wood working tools, bench, furniture, antique doors, out door planters, Halloween and Christmas decorations and much more.

In Amenia this fall, three artists came together to experiment with an ancient process — extracting blue pigment from freshly harvested Japanese indigo. What began as a simple offer from a Massachusetts farmer to share her surplus crop became a collaborative exploration of chemistry, ecology and the art of making by hand.
“Collaboration is part of our DNA as people who work with textiles,” said Amenia-based artist Christy Gast as she welcomed me into her vast studio. “The whole history of every part of textile production has to do with cooperation and collaboration,” she continued.
That sense of shared purpose is at the heart of the invitation Gast extended to artists Natalie Baxter and Janis Stemmermann to process a bumper crop of Japanese indigo (Persicaria tinctoria) at her studio this fall. All three artists’ practices intersect through material, process and an interest in the handmade. Gast and Stemmermann have collaborated on a series of hand-knit vests dyed with black walnut, available through Stemmermann’s store, Russell Janis. Baxter is a Wassaic Project residency and fellowship alum, who is leading a community quilting workshop there on Nov. 15. She also co-directs “Cottage Courses” with artist Polly Shindler, a series of hands-on artmaking workshops throughout the region.
“Lisa Dachinger of Hilltop Farm & Fiber Arts north of Pittsfield, Massachusetts had an abundance of indigo this year,” said Gast of her learning about the crop’s availability.In two trips to the farm, Gast harvested the plants and began experimenting with the ancient art and science of extracting pigment from the plants and transforming it into rich, layered blues.

“There are a lot of steps,” Gast noted with a laugh, as vats of aerated indigo bubbled in the corner of the studio. The process is slow and physical, dependent on timing, temperature and a kind of faith in chemistry. The freshly harvested Japanese indigo leaves are first soaked in warm water and left to ferment for several days. The plant matter is then removed, the solution is strained and the pH is raised with the addition of calcium hydroxide, and then the mixture is aerated, poured back and forth between containers until it oxidizes and the pigment turns dark blue. After the indigo settles to the bottom, the resulting paste is filtered, dried and ground into powder. Only then is it ready for dyeing.
But as Stemmermann pointed out, “It’s not a dye. It’s a coating and reaction.” Indigo’s elusive chemistry means each piece is unpredictable, shaped as much by chance as by control. To achieve a deep, saturated blue, “you have to layer it and dip it up to eight times,” she explained.
Each artist uses dye in their work, albeit quite differently, yet all share a deep sensitivity to material and process. “There is a seasonality to textile work,” said Baxter, referring to dye plants.“First, there’s the planting. And then you wait for them to grow, you harvest them, you dye the fabric and then it’s wintertime.” During quilt season when our attention turns inward, the patient, hands-on process becomes a meditation on slowness for Baxter, mirroring the rhythm of the earth and a quiet longing to move with it.

For Gast, working with plant dyes is a way to align artistic practice with ecology and activism. “I’m working on a project that will be showing at Mass MoCA in 2027,” she explained. “It’s a collaborative opera about peatlands for which I’m producing a textile installation that functions as the curtains. I’m using as many natural and regional processes as possible because our work has to do with local-to-global activism and conservation. There is a chemical alchemy in peatlands, which despite covering just 3% of the Earth’s surface, capture more than twice the carbon of all the planet’s forests combined. There’s a direct poetic alignment between plant dye processes and peatlands, which preserved some of the earliest textiles we know of. And the color palette is ancient, both familiar and uncanny.”
There’s a certain chaos in balancing experimentation with intent. For Gast, Baxter, and Stemmermann, this first attempt at pigment extraction has been as much about curiosity as outcome, a communal act of making, rooted in patience, experimentation and discovery.
To find out more about these artists, visit: christygast.com, nataliebaxter.com and janisstemmermann.com