The Sayler family, center, (Bridget, Dom, Zoe and Owen) is flanked by Judy Gafney, far left, of the Salisbury Housing Trust, and Habitat for Humanity of Northwest Connecticut officials David Sellery, executive director, and Bob Whelan, president, at right.
SALISBURY — One neighbor brought a cinnamon swirl bundt cake from Sweet William’s to welcome the Sayler family to the Selleck Hill neighborhood.
Another brought her recently born fawn.
The latter, a white-tailed deer that lives in the surrounding woodlands, had been a frequent visitor since Bridget and Dom Sayler purchased their 1,348-square-foot, single-family home on 2.6 acres for $195,000 from the Salisbury Housing Trust (SHT) on April 30.
But on this brisk, spring morning, the doe did not come alone. She made a surprise visit with her spindly legged fawn, eliciting glee from the small group that had gathered to talk about the SHT’s 17th sale of an affordable home in town.
The transaction marked the first collaboration between the Housing Trust and Habitat for Humanity of Northwest Connecticut. The deal made home ownership a reality for the Sayler family: Bridget, Dom and their three children, Zoe, 14, Owen, 12, and Lewis, 11.
Prior to the purchase, the Saylers had rented a house in Lakeville for 13 years.
“We were waiting in the wings,” explained Bridget, whose family has deep roots in the Northwest Corner. Her parents own and operate the family-run Clarke Outdoors in West Cornwall.
“When this house came up, Judy [Gafney] knew how much we love the woods and the creatures,” she said of the Housing Trust’s board member.
Housing Trust President John Harney said the deal was even sweeter because Bridget’s late grandfather, Vic Clarke, “was one of our childhood heroes who taught us all how to cross-country ski, hike, rock climb, paddle and love the outdoors…so supporting his granddaughter was of the highest importance to accomplish in memory of Vic. He would have loved this home.”
Ellsworth family’s legacy
In 2000, the 2.6-acre property at 30 Selleck Hill was donated to Habitat for Humanity by Sally Ellsworth to ensure that the property would be forever affordable.
Harney credited the Ellsworth family for leading the way in supporting the building of affordable homes before it became popular.
The original occupants of the five-room home, Terre and Hal Lefferts, lived there for more than two decades before relocating to Maine where Hal’s music career and Terre’s art and massage career are keeping them busy.
“We put in 600 hours of work building the house with Habitat for Humanity’s help, 22 years ago. This is not including the hours of labor Hal spent creating and cultivating the beautiful gardens and flowering trees,” recalled Terre Lefferts. “These he labeled, hoping that the next residents would care for them as he had all those years.”
Lefferts said she misses not only her friends, home and gardens, but also her daily walks up Selleck Hill with her dog, Luna. “It was very bittersweet to leave what we had worked on and lived in for over 22 years.”
Happenstance connected the Lefferts with the Housing Trust.
Gafney, a member of the Housing Trust, recalled a conversation with Lefferts last July at a silent auction to benefit SHT at The White Hart.
“Terre said, ‘We’re moving to Maine,’ and I said, ‘We have people!’”
Five months later, in December of 2024, the Housing Trust purchased the house from the Lefferts, and Habitat gifted the two-plus acres to the Housing Trust to help keep the house affordable and to honor Ellsworth’s legacy.
On April 30, SHT sold the house to the Saylers and retained the land, which is governed by the trust’s ground lease.
“We cannot say enough about the heroic work that the Housing Trust is doing, and we’re happy that they could place a deserving family in the wonderful home that once was ours,” said Lefferts.
‘A meaningful first step’
David Sellery, executive director of Habitat for Humanity’s Northwest region, described his organization’s collaboration with SHT as a “meaningful first step toward building a broader coalition for affordable housing in our region.”
The Selleck Hill deal, he noted, is a great example of how collaboration can move the needle on affordable housing.
“By working together, we can do more for our neighbors than any one organization can do alone. This partnership reflects a shared commitment to creative solutions that honor both the character of our community and the urgent need for accessible housing.”
Habitat’s board President, Bob Whelan, noted that Habitat and the Housing Trust employ the same model, “in that we continue to own the land and we sell the improvements. It gives the families the ability to build wealth, as we allow for appreciation on the home.”
The beauty of the concept, he said, is the ability to put the home back into an affordable housing situation down the road.
One door closes, another opens
On June 1, Gafney, Sellery and Whelan gathered in the cozy living room with the Sayler family when suddenly, a white-tailed deer approached the front porch. The group scrambled to the window to take a peek at the delicate doe, which had become a frequent visitor.
But on this day, she brought a surprise along: her recently born fawn, which remained along the wooded edge of the backyard until the duo dashed off into the shadows.
Dom Sayler, a teacher at the Berkshire School in Sheffield, Mass., noted that the property affords the natural setting the family had long been seeking, yet is convenient to town.
“The kids walk to the library, and Zoe enjoys the teen programs at Scoville. The fact that this area of land is available to our income level I find astounding. It would go for way more for just the land alone,” on the open market, he noted.
Another selling point of the home was its spacious basement, a popular hangout for the youngsters.
“There’s a woodstove down there and it’s very dry,” perfect for music practice, said Dom, who noted, “Our kids have a band…The Saylers,” with Zoe on bass, Lewis on drums and Owen on guitar.
All three children attend Salisbury Central School, and Zoe plans to attend Berkshire School next year.
Bridget, who works at the Hotchkiss School library, hugged Gafney as they parted ways and thanked her for helping to make the family’s dream of homeownership come true.
“I can’t imagine having someone else in our corner.”
Sellery reflected on meeting the Sayler family at their new home.
“And what a special moment with the doe and her fawn,” he noted “Truly a reminder of the beauty of life this land holds, and why it’s so worth preserving and sharing responsibly.”
Ruth Franklin and Ileene Smith in conversation at Congregation Beth David in Amenia.
Congregation Beth David in Amenia hosted a conversation on the enduring legacy of Anne Frank, one of the 20th century’s most iconic figures. Ruth Franklin, award-winning biographer and critic, shared insights from her highly acclaimed book “The Many Lives of Anne Frank” with thought-provoking questions from Ileene Smith, Editorial Director of the Jewish Lives series. This event, held on July 23 — the date Anne Frank would have turned 96 — invited the large audience to reconsider Anne Frank not just as the young writer of a world-famous diary, but as a cultural symbol shaped by decades of representation and misrepresentation.
Franklin and Smith dove right in; Franklin reading a passage from the book that exemplified her approach to Anne’s life. She described her work as both a biography of Anne Frank and a cultural history of the diary itself, a document that has resonated across the world.
“The diary,”Franklin explained, “has been appropriated in ways that sometimes obscure the reality of who she was and the historical context of her life.” By weaving together different perspectives, including testimonies from those who knew Anne or whose lives were shaped by her, Franklin sought to rehumanize a figure who has, for better and worse, been turned into a symbol.
Franklin’s book examines the many faces of Anne Frank that have appeared in the public consciousness: the girl whose diary became a universal symbol of the Holocaust, the teenage diarist whose words offer an optimistic glimpse of humanity, and the historical figure whose Jewish identity has at times been obscured in favor of a broader, universal message. Franklin highlighted how Anne’s legacy was shaped by her father, Otto Frank. Many of Otto’s decisions have been viewed as controversial such as removing passages that could have alienated potential readers. While often criticized, Franklin suggested that his editorial work was driven by the desire to reach the broadest possible audience.
“I think we have to be so generous in thinking about Otto Frank and the choices that he made,” said Franklin. “He made the decision that he wanted the diary to be read by the greatest number of people possible. He wanted Anne’s message to go out into the world and work, as he said, against prejudice, understood in the widest possible sense. The Anne Frank House today in Amsterdam is carrying on his mission in making Anne’s story relatable and accessible and comparing it to many other different kinds of prejudice around the world. Not everybody agrees with this approach, but that’s what he decided to do.”
The conversation turned to a quote from author Cynthia Ozick, who argued that Anne’s story has been “vulgarized, distorted, and infantilized” in adaptations of the diary, particularly those created for mass consumption. While acknowledging the validity of Ozick’s concerns, Franklin pushed back. The desire to make Anne’s story accessible to a global audience, Franklin suggested, began with Anne herself, who rewrote her diary with an eye toward future readers who might not understand her specific historical context.
The conversation also delved into the profound grief and ambivalence Otto Frank must have felt as he worked to preserve his daughter’s legacy. Franklin’s expressed deep empathy for him, burdened with making Anne’s diary into something more than a personal testament. “He was working with a tragic loss, with an immense responsibility,” Franklin noted.
The evening’s discussion expanded to include the contentious debate over the graphic version of Anne Frank’s diary, which has been banned in several U.S. states. Critics of the graphic adaptation have condemned it for including depictions of Anne’s developing sexuality, citing them as “pornographic.” Franklin pointed out that this outrage stems from “the intersection of homophobia and anti-Semitism” in today’s political climate, highlighting how Anne’s legacy continues to be embroiled in ongoing cultural and political struggles. “The books that are most frequently banned in the country right now are those that have to do with LGBTQ content.This is a serious issue of the Republican Party persecuting gay people and trans people more generally,” said Franklin.
Smith pointedly asked Franklin about what is widely considered the most famous quote from the diary: “In spite of everything, I still believe that people are really good at heart.” Franklin responded, “In many ways, Anne Frank was an optimistic person and that quote is an accurate reflection of who she was. At the same time, that quote is incomplete. It actually comes in the middle of a much longer passage in which she describes feeling hopeless about the future of the world.” Franklin continued, “That quote is often dismissed by Holocaust scholars or other people who have said with a lot of confidence that if Anne Frank had survived the camps to write about it, she would no longer have believed that people are truly good at heart. My own position, which is the perspective I adopt in this book, is that none of us can know what a surviving Anne Frank would have thought about anything at all, and it is irresponsible to speculate about it.We simply can’t go there. “
As the conversation concluded, the room was filled with a sense of reflection and appreciation. The crowd was invited to continue the conversation in the Community Room, where Franklin signed copies of her book, which were available through Oblong Books. Her visit left attendees with much to ponder about how we interpret history, memory, and the cultural artifacts that endure.
Yuja Wang performs with the TMCO and Andris Nelsons.
Sunday, July 20 was sunny and warm. Nic Mayorga, son of American concert pianist, the late Lincoln Mayorga, joined me at Tanglewood to hear Yuja Wang play Prokofiev’s Piano Concerto No. 2 in G minor, Op. 16. I first saw Wang on July 8, 2022, when she filled in for Jean-Yves Thibaudet on the opening night of Tanglewood’s summer season. She virtually blew the shed down with her powerful and dynamic playing of Liszt’s Piano Concerto No. 1.
Nic was my guest last season on July 13, when Wang wowed us with her delicate interpretation of Beethoven’s Piano Concerto No. 4. We made plans on the spot to return for her next date in Lenox.
As we found our seats there was a buzz in the Shed. A huge crowd had gathered. Nic went for tall cans of cold mineral water — essential. The Tanglewood Music Center Orchestra was on stage. The door opened, and out stepped Wang in a brilliant shear and sparkling silvery light dress befitting the warm day. Conductor Andris Nelsons followed. They greeted concertmaster Nathan Cole, and settled in.
The first movement, an Andandtino -Allegretto - Andandtino, is one where a 22-year-old Prokofiev distinguishes himself as an entirely new breed of concerto composers. It is far from typical. There is no conventional drama between opposing forces of piano and orchestra — just a light, gentle phrase with intentionally muted strings (pizzicato) and clarinets, giving way to Chopin-like left-hand figures from the piano, and a lengthy, divine melody in the right. There is beauty in this.Wang is in charge.
She transitioned to a faster march section that evolved into an extended solo played with great precision and attention to detail. The soloist had the floor until a raucous return of the full orchestra, followed by a pianissimo recollection of the opening. The two great forces now united, everyone was on the edge of their seat.
The second movement is a Scherzo: Vivace. Here, Wang showed her mastery over one of the most challenging sections — a relentlessly demanding moto perpetuo where the soloist must play unbroken sixteenths, both hands, in octave unison. Nic agreed that one must see this type of playing live to fully appreciate the artist. The orchestra added wonderful, subtle color and counter moods to this virtuoso spotlight. Wang’s command of the minutest shifts in tempo was astounding. The piano, here, produces melodies but also becomes a percussion instrument of the highest order.
In the third movement, an Intermezzo: Allegro moderato, the soloist gets a breather from the speedy tempos — but not quite, as she must alternate between delicacy and great force in figures while the orchestra layers a backdrop of a heavy march. Wang displayed her versatility here, commanding the tone, volume and moods as dictated by Prokofiev’s adventuring. Tempos changed. Everything changed. Yet throughout, each mini stanza and bar stood out — authentic, independent, real. Likely exactly what Prokofiev had in mind, but likely to elude all but the finest musicians.
In the Finale: Allegro tempestoso, Prokofiev reverts to the more conventional opposition-of-forces theme — the piano trying to overwhelm the orchestra in a barrage of flittering bright passages offset by heavy-handed chords. Wang chose a more collegial approach here. She was firm but polite; it never felt like a struggle. This made the transition to the next idea — where clarinets and violas offer a contrasting tranquility — smooth as silk. The solo piano continued with elements of Russian folk music, joined by the orchestra, building intensity before another solo piano display, and then a traditional buildup to a sweeping conclusion.
I glanced over at Nic’s joy and bewilderment. A standing ovation was followed, with encore performances of selections from Sebelius’s 13 Pieces for Piano, Op. 76, No. 2: Etude; Schubert’s “Gretchen am Spinnrade,” D. 118, arranged by Liszt; and Horowitz’s Variations on a Theme from Carmen.
Prokofiev’s debut of this concerto in 1913 did not go over quite as well. Some in the audience expressed displeasure at his ideas, hissed and rushed out. But Prokofiev expressed his displeasure at their poor taste, played an encore nonetheless, and fanned the flames. Sometimes a genius from one generation is misunderstood in his time but vindicated generations later by audiences and musicians of a different era. Such is the case with Prokofiez, who had the last laugh. Yuja Wang has her place in this saga. That she performs with the young musicians of the Tanglewood Music Center Orchestra shows her generous nature and kind heart — she cares about the future of classical music.
If you are curious and like to travel, Wang will play Prokofiev’s Piano Concerto No. 2 again several times this season: Nov. 13 at The Philharmonie de Paris; Dec. 4 and 5 at The Konzerthaus, Vienna; and Dec. 12 at The Concertgebouw in Amsterdam. I highly recommend it.
