‘Internal loading’ a major concern for Mudge Pond

Sharon’s Mudge Pond spans more than 200 acres.
Alec Linden

Sharon’s Mudge Pond spans more than 200 acres.
SHARON — A new report prepared by the Northwest Conservation District found it’s not only recent agricultural runoff that impacts the water quality of Mudge Pond, but pollution from bygone farms of decades ago.
The reason for this is a process called “internal loading,” stated the report, which was prepared by NWCD Natural Resource Specialist Kelsey Sudol and presented to the Board of Selectmen at its August 26 meeting by selectwoman Lynn Kearcher. Drawing from the findings of a February 2025 study (researched in 2024) by environmental consultancy Northeast Aquatic Research, Sudol’s memo declares that “internal loading is the main major water quality concern for Mudge Pond currently.”
Internal loading is the release of harmful particulates that were once entombed in the lake bottom back into the water column. It results from a layer of anoxic or hypoxic — water either entirely or almost entirely devoid of dissolved oxygen – sitting on the lake bottom for longer than usual.
It’s normal for this to happen for a period in New England’s freshwater lakes during the summer when they’re “stratified” (i.e. when warmer, less dense water sits above cooler, denser water). In this state, the layers don’t mix and the deeper water is unable to receive additional oxygen from the well-oxygenated layers above.
Warmer winters, however, can cause this process to begin earlier, especially with a shortened ice season. These extended anoxic periods, which were confirmed by several readings taken during the Northeast Aquatic Research study, allow harmful pollutants that may have been sitting on the lake bottom for decades to reappear and cause damage. Nitrogen and especially phosphorus are two such products of historic agricultural runoff that pose a risk to Mudge Pond.
The NWCD report upholds that “within watersheds that have a long history of agriculture, which Mudge Pond does, this release of historic pollution is common.” There is an urgency to remedying this issue, the report went on, given that “the stressors that are worsening this internal loading, like warmer winters, are not projected to improve.”
The report recommends aeration, a technology which artificially inputs oxygen into deeper water, as the most promising remediation tactic. The suggestion follows the Northeast Aquatic Research study which declared that “the lake is an excellent candidate for artificial aeration.” Northeast Aquatic Research would not suggest a specific method by which to implement the solution, however, until it had completed further research, stating the group would be able to present “state-of-the-art” options to the town by the spring of 2026.
Neither the town nor the Mudge Pond Association — the lake’s newly-formed recreation and protection authority — have stated whether an aeration solution will be pursued, although the Association has indicated a commitment to weigh all possible protective measures.
While the reappearance of old pollutants presents the greatest water quality risk, current runoff also poses a threat. The Northeast Aquatic Research report located a high concentration of nitrogen at certain times of the year near an inlet that enters the lake on its eastern shore, downslope from Low Road. The feeder streams flow through a wetland before reaching the lake at the inlet, which is a cause for concern as wetlands usually act as “biofilters” that remove nutrients from the water, stated Northeast Aquatic Research.
The NWCD offered to conduct a stream-walk to locate the sources of these nutrients that would help develop a “watershed monitoring program.” The group would also help the town educate property owners and farmers within the watershed on erosion control and nutrient runoff management. Such practices have worked before, the NWCD correspondence stated: according to historic reports from 1999, 2000 and 2001, once newly-established best management practices were adopted in area farms in the 1980s and 1990s, Mudge Pond’s water quality drastically improved.
The NWCD also offered to conduct a volunteer event to remove invasive water chestnut, sending out flotillas of kayakers to hand-pull the water weed in a minimally invasive procedure. Earlier in the summer, an effort by the Mudge Pond Association and local consultancy New England Aquatic Services to hand-pull the plant was stymied by a much-greater amount of organic material than anticipated. A bigger team could help, the NWCD recommended in the memo.
The Mudge Pond Association said it is carefully weighing NWCD’s many suggestions, and is working on next steps.
Lakeville Journal
PART-TIME CARE-GIVER NEEDED: possibly LIVE-IN. Bright private STUDIO on 10 acres. Queen Bed, En-Suite Bathroom, Kitchenette & Garage. SHARON 407-620-7777.
The Salisbury Association’s Land Trust seeks part-time Land Steward: Responsibilities include monitoring easements and preserves, filing monitoring reports, documenting and reporting violations or encroachments, and recruiting and supervising volunteer monitors. The Steward will also execute preserve and trail stewardship according to Management Plans and manage contractor activity. Up to 10 hours per week, compensation commensurate with experience. Further details and requirements are available on request. To apply: Send cover letter, resume, and references to info@salisburyassociation.org. The Salisbury Association is an equal opportunity employer.
Gardeners needed for native plant design business: March 15-December 1st. Must be physically fit and dependable. Call for interview 347-496-5168. Resume and references needed.
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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.

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Lakeville Journal
Lakeville Journal

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Dee Salomon
Fireweed attracts the fabulous hummingbird sphinx moth.
You must figure that, as rough as the cold weather has been for us, it’s worse for wildlife. Here, by the banks of the Housatonic, flocks of dark-eyed juncos, song sparrows, tufted titmice and black-capped chickadees have taken up residence in the boxwood — presumably because of its proximity to the breakfast bar. I no longer have a bird feeder after bears destroyed two versions and simply throw chili-flavored birdseed onto the snow twice a day. The tiny creatures from the boxwood are joined by blue jays, cardinals and a solitary flicker.
These birds will soon enough be nesting, and their babies will require a nonstop diet of caterpillars. This source of soft-bodied protein makes up more than 90 percent of native bird chicks’ diets, with each clutch consuming between 6,000 and 9,000 caterpillars before they fledge. That means we need a lot of caterpillars if we want our bird population to survive.
So how do we ensure that there are sufficient caterpillars for them? That is the question, as caterpillars are very particular. Their butterfly or moth mothers cleverly attach their eggs to the very specific plants their tiny babies require. Once they hatch, the caterpillars eat the leaves of these plants until they are either picked off by birds to feed their young or create a chrysalis and turn into a moth or butterfly to repeat the cycle of life.
Some caterpillars are generalists and can survive on a variety of plants, but most — 90 percent, according to scientists — are specialists, relying on only one or two types of plants for survival. In their winged form, dietary restrictions ease as they source pollen more widely, but when it comes time to lay eggs, they use a keen sense of smell to find the specific plants that will help their young survive.
Research by Doug Tallamy shows that 90 percent of butterfly and moth species rely on just 14 percent of native plant species for food, which makes the planting of these “keystone” plants critical. Let’s review a few.
Goldenrod: Not all goldenrod is created equal. Old field goldenrod, (Solidago nemoralis), is a shorter and less aggressive alternative to the tall, aggressive goldenrod we are familiar with, as is wrinkleleaf goldenrod, (Solidago rugosa), a compact species that has arching sprays of bright yellow flowers supporting more than 100 species of insects. This species is deer-resistant with no serious pests or diseases. Last year, Mt. Cuba Center, a conservation center out of Delaware, focused its trials on goldenrod, and its research report, available online, is sortable not just by aesthetic attributes but also by the number of insects seen on each species.
Scarlet strawberry: (Fragaria virginiana), is one of the plants I have had great luck growing in the woodland. When there is a new sunny spot, which happens when a tree or large branch falls, I plant a few strawberries, which I dig out of a spot where they are thriving. These plants make a great groundcover and are especially nice used under trees for caterpillar “soft landings.”
Spotted Joe-Pye weed: We see this plant, (Eutrochium maculatum), on roadsides in late summer, but it looks as sharp as an ornamental in the hands of Michael Trapp, who, in the garden behind his shop in West Cornwall, encloses a bed of Joe-Pye weed with a short boxwood hedge, dignifying this plant that supports between 35 to 40 caterpillar species, including those that become the three-lined flower moth, Clymene moth, ruby tiger moth, Eupatorium borer moth and great spangled fritillary moth.
I am less familiar with fireweed, (Chamaenerion angustifolium), but will be adding it this year, as it may be the prettiest of the keystone plants in our region and attracts the fabulous hummingbird sphinx moth. I will let you know when I find a local nursery that stocks it and, when planted, how it fares here.
Also keep in mind this spring: smooth aster, (Symphyotrichum laeve); white yarrow, (Achillea millefolium); and the beautiful Canadian columbine, (Aquilegia canadensis), which is the first food for hummingbirds’ arrival in the Northwest Corner.
Dee Salomon ‘ungardens’ in Litchfield County.
Robin Roraback
Stephanie Haboush Plunkett
"The field of illustration is very close to my heart"
— Stephanie Plunkett
For more than three decades, Stephanie Haboush Plunkett has worked to elevate illustration as a serious art form. As chief curator and Rockwell Center director at the Norman Rockwell Museum in Stockbridge, Massachusetts, she has helped bring national and international attention to an art form long dismissed as merely commercial.
Her commitment to illustration is deeply personal. Plunkett grew up watching her father, Joseph Haboush, an illustrator and graphic designer, work late into the night in his home studio creating art and hand-lettered logos for package designs, toys and licensed-character products for the Walt Disney Co. and other clients.
“The field of illustration is very close to my heart,” she said. Inspired by that example, she studied illustration at Pratt Institute and began her career as an illustrator before shifting toward museum work. An internship at the Brooklyn Museum proved pivotal. “It was inspiring to see the children come alive in front of art,” she recalled.
In addition to her curatorial work, Plunkett is the author of two children’s books, “Kongi and Potgi: A Cinderella Story from China” and “Sir Whong and the Golden Pig,” and has written or co-authored numerous books on illustration, including “Drawing Lessons from the Famous Artists School” and “Leo Lionni: Storyteller, Illustrator, Designer.” She earned an MFA from the School of Visual Arts and built a museum career that included positions at the Brooklyn Museum, the Brooklyn Children’s Museum and the Heckscher Museum of Art before joining the Norman Rockwell Museum, where she has worked for 31 years.
But elevating illustration has meant challenging decades of critical skepticism.
“The goal has been to shine a light on this important American art form and to elevate public awareness of its artistic and cultural importance,”Plunkett said.
As a popular and widely circulated art, illustration is sometimes thought of as inferior to fine art, such as painting and sculpture. Plunkett considered why. She theorized that the 1913 New York Armory Show, the International Exhibition of Modern Art, with works by artists such as Picasso, Matisse and Duchamp, initially contributed to this evaluation. In the 1930s and ’40s, abstract expressionism became the art of the nation, and the rift widened further.
“Norman Rockwell became the antihero for many art critics of the time,” said Plunkett. “Illustration was viewed as too commercial and sentimental because of its emphasis on visual storytelling.”
Plunkett calls illustration “art with a job to do.” She explained, “Illustrators are adept at solving visual problems for their clients while expressing their own aesthetic and artistic vision.”

She noted that the line between the fine and applied arts “is much more porous now, with many artists working across platforms and styles.” She cited late-20th-century illustrators like Marshall Arisman, Barbara Nessim, Robert Cunningham, Bernie Fuchs and Mark English as illustrators who forged unique approaches to working and seeing.
Plunkett commented that people want to see the original illustrations. “Generally, Rockwell exhibitions bring high attendance. Currently, our traveling exhibition, ‘Norman Rockwell: From Camera to Canvas,’ is at the New Britain Museum of American Art, but we’ve traveled Rockwell and illustration to 45 states and several countries, including Japan, France, Italy and Germany.”
Nowadays, illustrators take on subjects that are important to them. “The children’s book industry is committed to sharing the richness and diversity of people and cultures with young readers.” Plunkett cited the late illustrator Jerry Pinkney’s commitment to this goal. As a boy, Pinkney found no books portraying children like him, and “his life’s mission as an artist was to present inspiring, positive images of children of color.”
The Norman Rockwell Museum and Rockwell Center seeds were sown when “Rockwell placed the first 199 artworks in the care and collection of the Norman Rockwell Museum upon its founding in 1969, some of which he personally acquired for the fledgling collection,” said Plunkett. “The museum’s current Rockwell holdings include 865 original artworks, the artist’s Stockbridge studio and an archive of 400,000 photographs, letters, props and first uses of the artist’s work. We also hold about 25,000 illustrations by other artists, from the historical to the contemporary.”
“We call ourselves the home for American illustration. We have a real commitment to illustrators and what they’ve accomplished,” said Plunkett.
The Norman Rockwell Museum is located at 9 Glendale Road, Stockbridge. For more information and to purchase tickets, visit
nrm.org
Brian Gersten
Craig Davis, co-founder and board chair of East Mountain House, an end-of-life care facility in Lakeville, will sponsor a March 5 screening of the documentary “Come See Me in the Good Light” at The Moviehouse in Millerton, followed by a discussion with attendees.
The film, which is nominated for best documentary at this year’s Academy Awards, follows the poet Andrea Gibson and their partner Megan Falley as they are suddenly and unimaginably forced to navigate a terminal illness. The free screening invites audiences to gather not just for a film but for reflection on mortality, healing, connection and the ways communities support one another through difficult life transitions.
East Mountain House grew out of a realization that “there are so many issues with how we are taking care of our dying in our community,” said David. “We wanted to provide a solution for some people where they can die in a serene and calming home-like setting.” This compassionate approach at East Mountain House is carried out with the support of seven staff members and 42 volunteers who do everything from reading to residents, gardening, cooking, communicating with family members and assisting with therapeutic treatments. East Mountain House houses just two residents at a time, and staff and volunteers work around the clock to accommodate their needs.
In a culture where we are trained to panic when a loved one is dying, and where a clinical space like a hospital is the norm for many individuals at the end of their lives, Davis feels that East Mountain House is an alternative with a natural and organic approach to death. It’s a place where death can be celebrated and viewed as something that is simply a part of life. Davis’ vision for East Mountain House is more than a decade in the making, and he is eager to introduce his work and his perspective to locals at the upcoming community screening.
One of the reasons Davis was interested in sponsoring a screening of “Come See Me In The Good Light” was because the film gracefully explores themes of vulnerability, resilience and the search for meaning in the face of death. Through its deeply personal storytelling, the film highlights how people navigate loss, transformation and the desire to be seen for who they truly are. The documentary’s emphasis on compassion and human connection aligns closely with the mission of East Mountain House, making the post-film discussion a natural extension of the evening.
Davis hopes the event will serve as both a cultural offering and a community touchstone — an opportunity for neighbors to gather in a welcoming space, share ideas and reflect on the importance of end-of-life support systems. The screening is free and open to the public, though advance registration is recommended due to limited seating.
For registration, go to themoviehouse.net.

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