Thank you!
Your support is sustaining the future of local news in our communities.

Hoping that a comet will come our way

Pricked into the border of the 230-foot-long Bayeaux Tapestry, right before the coronation of the English King Harold and above the upturned heads and pointing arms of his retainers, is the Latin inscription “Isti Mirant Stella” (“These men wonder at the star”) and the unmistakable image of a blazing comet.

The appearance of Halley’s Comet in 1066 coincided with the Norman invasion of England, though chronologically it took place a few months after what from William the Conqueror’s perspective was Harold’s “usurpation.”   

As portents go, save only a total solar eclipse,  the appearance of a great comet is about as good a celestial event as one could wish. Now, in this plague year of 2020, we are about to receive a visitation from a comet with the potential to be spectacular.

Comet C/2019 Y4 was first detected in the last days of the old year by the Mauna Loa, Hawaii-based Asteroid Terrestrial-impact Last Alert System (ATLAS), and is now visible with the aid of more modest telescopes.

Sometime in late April, when there is a sliver of new moon in the sky, astronomers predict that what is being called Comet ATLAS will be a naked-eye object, and could be brighter than Venus as it makes its closest approach to the sun in late May 2020.

I have seen four comets in my 52 years on this Earth. When I was a very little boy, in 1973, my parents took me out one winter night to the airport in the hills above Worcester, Mass., to see Comet Kahoutek (C/1973 E1), making its first approach in 150,000 years.  I do not recall being impressed, and indeed Kahoutek failed to deliver, partially breaking up as it swept toward the sun.

When I was in high school, Halley’s Comet made an underwhelming pass after 86 years, but the next two comets were greater by orders of magnitude. Comet Hyakutake (C/1996 B2) came so close to the Earth that observers could easily track its movement — a Moon’s breadth in half an hour’s time.

It blazed with a long tail but only briefly, growing fainter between late March and May, and its memory has been eclipsed by Comet Hale-Bopp (C/1995 01), which arrived later in 1996 and which I saw in both hemispheres.  The clear desert skies of Namibia made a brilliant backdrop for a comet outgassing in a broad V above the Damaraland escarpment.

As author David H. Levy memorably puts it; “Comets are like cats: they have tails, and they do precisely what they want.”

Whether Comet ATLAS is a bang or a bust depends on a number of variables. It has an estimated orbital period of  about 5,000 years.  Its nuclei have started to develop an aqua-blue tail that, because of its orbital trajectory, could achieve an impressive, reflective length at its nearest approach.

The size and composition of the comet itself is still unclear, so it is hard to predict how bright ATLAS will get or whether it will break up under the pull of the Sun’s gravity.

Those inclined to read meaning into coincidence may note that the emergence of the novel coronavirus and its exponentially growing global infection curve are closely aligned with the arrival of Comet ATLAS. Those of us who desperately need something marvelous and wonderful to brighten our lives at this time live in hope that ATLAS will deliver.

 

Tim Abbott is program director of Housatonic Valley Association’s Litchfield Hills Greenprint. His blog is at www.greensleeves.typepad.com.

Latest News

‘So Little to Do,’ so much to discover at James Barron Art

Curator Deborah Goodman Davis reads the Emily Dickinson poem “The Grass So Little Has to Do.” Spencer Finch’s “Following Three Bees (Zinnias)” buzzes in the background.

Photo by Natalia Zukerman

“The Grass Has So Little to Do,” on view at James Barron Art in Kent, takes its title from Emily Dickinson’s poem “The Grass So Little Has to Do,” written in 1862:

“The Grass so little has to do—
A Sphere of simple Green—
With only Butterflies to brood
And Bees to entertain—”

Keep ReadingShow less

Marina Kotchoubey is not a woodworker

Marina Kotchoubey is not a woodworker

Marina Kotchoubey at the Ian Ingersoll Cabinetmakers showroom in West Cornwall.

Photo by D.H. Callahan

After 40-something years navigating the world of custom fine furniture, Ian Ingersoll was getting ready to retire. Starting off with a little dovetail stool that he sold at a shop in West Cornwall in the 1970s, he’d grown his skill and his business into something he — and the whole town — could be proud of. Shutting down that business was not an option.

Ingersoll built Ian Ingersoll Cabinetmakers, which produced mainly classical Shaker furniture, on passion: the passion he had to make a living through creative challenges and the passion of his employees, who all seem deeply in love with their craft.

Keep ReadingShow less
A legacy of giving at Norfolk Chamber Music Festival

One hundred and twenty years ago, Carl and Ellen Stoeckel commissioned New York architect E.K. Rossiter to design The Music Shed in Norfolk, Connecticut. After nearly a decade of entertaining their friends and neighbors with the finest music of the day, they built a permanent home for their beloved Litchfield County Choral Union.

The commission and full funding of the construction was not unheard of in an era when great fortunes led to public enrichment. Railroad tycoon John D. Rockefeller was instrumental in funding institutes of higher education. Steel baron Andrew Carnegie was building libraries all over the country, and famously said that a man who dies rich is a disgrace, challenging his peers to give their fortunes back to the people.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

Two unique exhibitions at Geary Gallery

Henry Klimowicz with his sculpture, “Partial Pillar 1”

Photo by D.H. Callahan

On Saturday, Aug. 1, Geary Gallery opened its doors in Salisbury for two unique shows in its first- and second-floor gallery spaces. Art lovers flooded both floors over the course of the afternoon, giving the events a vibrant feeling that enhanced the importance of the art.

On the first floor is a show by Chicago-born, Colorado-based photographer Summers Moore, titled “Lobitos: Pueblo Fantasma,” or “Lobitos: Ghost Town.” The work centers around her daughter’s current hometown in Peru. Moore herself found a home away from home in Colorado in the mid-1980s and encouraged her children to seek out new places outside of their comfort zones.

Keep ReadingShow less

Writer’s retreat in the woods

Writer’s retreat in the woods

Participants in a 2024 Great Mountain Forest Woodland Academy workshop at Yale Camp.

Photo by Mike Zarfos

Great Mountain Forest (GMF) will host its first Nature Writing Retreat at the historic Yale Camp in Falls Village from Aug. 7-9, 2026. Writers of all levels are invited to draw inspiration from one of New England’s most notable forest landscapes. GMF envisions the retreat becoming an annual event celebrating writing, conservation and the relationship between people and forests.

This immersive three-day retreat reflects on the legacy of Hal Borland, the American writer and New York Times nature columnist whose work was deeply connected to this landscape. The retreat explores how wilderness shapes language, strengthens close observation and fosters environmental consciousness.

Keep ReadingShow less
From Cornwall to Rome, Adam Van Doren at Berkshire Botanical Garden

Artist Adam Van Doren and curator Donna Hassler talk to a group of visitors at the Berkshire Botanical Garden. A Stephen Proctor vessel sits to their left.

Photo by Natalia Zukerman

This summer, the Berkshire Botanical Garden in Stockbridge has hosted “Grounded in Nature: Paintings by Adam Van Doren,” an exhibition exploring the intimate relationship between architecture and the natural world.

On view for only a few more weeks in the Leonhardt Galleries, the exhibition features more than 35 watercolor and oil paintings by the New York-based artist, architect, author and Yale professor, curated by art historian Donna Hassler, director emerita of Chesterwood. The works span three distinct places that have shaped Van Doren’s artistic practice: New York City, Cornwall, Connecticut, and his travels throughout Europe.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.