Sharon history: Remembering Buckley

A photo of the Buckley family was on display during author Sam Tanenhaus’s book talk April 12.
Ruth Epstein
A photo of the Buckley family was on display during author Sam Tanenhaus’s book talk April 12.
SHARON — The setting for author Sam Tanenhaus’s talk on his book “Buckley: The Life and Revolution that Changed America” was most appropriate.
Speaking Saturday, April 12, at Sharon Town Hall about William F. Buckley Jr., conservative writer and political commentator, Tanenhaus said, “Sharon was the essence of what Buckley did. The origins of the conservative movement are from Sharon.”
The program, titled “The Buckleys of Sharon,” was sponsored by the Sharon Historical Society, and followed the organization’s annual meeting. Investigative journalist Brian Ross served as interviewer. The room was packed with listeners attentive to Tanenhaus’ informative and somewhat humorous delivery.
William F. Buckley Sr. purchased Great Elm, the house on South Main Street, in 1923. It was there he and his wife, Aloise, raised their 10 children. An 11th girl who died in infancy is buried in a Sharon cemetery.
“All WFB learned,” as Tanenhaus referred to him throughout the presentation, “started at that home in Sharon.”
Young Buckley was born in 1925, the middle child of the large family, which also consisted of James Buckley, who went on to become a senator.
While Tanenhaus said delving into long passages about early lives when writing biographies is no longer an accepted practice, he did take some time to read a passage about the senior Buckleys’ beginnings, due to the influence it had on their children. WFB’s father was raised in southern Texas, and spoke as much Spanish as English. That might have served as the basis for his son’s way of speaking, which some believe was an attempt to sound British. Aloise Buckley, whom Tanenhaus labeled “a culturally southern Catholic,” came from New Orleans,
Tanenhaus explained that the book came about because of his previous biography on Whitaker Chambers. Buckley was a source for that work and as they got to know one another, “WFB welcomed me into his life as if I mattered.”
Giving some insight into the man, Tanenhaus noted that almost all of Buckley’s good friends were liberals, which was part of the largeness he displayed. He had an all-encompassing quality about him and was able to charm everyone.
The founder of the National Review magazine and host of the public affairs television program “Firing Line,” “WFB was an orator and debater, going back to his student days. In his first competition, he took the side of defending Charles Lindbergh, who was a Buckley family hero. Another time, around 1939 or ’40, he was part of a debate in nearby Amenia, New York, in which the subject was whether the United States should intervene in the European War. Buckley took an isolationist stance.
Later in life, there were two notable debates in which Buckley participated. In one particularly explosive interchange, author Gore Vidal accused Buckley of being a Nazi and Buckley went wild, losing the match. He also lost in another notable debate with civil rights activist James Baldwin.
A few times during his talk, Tanenhaus made reference to “the Sharon incident.” Finally, Ross asked him to explain what that was. Great Elm was located just across the road from Christ Church Episcopal. Its pastor was the Rev. Francis James Meadows Cotter, who happened to be the father of two daughters who went on to become celebrities: Jayne and Audrey Meadows.
It was the spring of 1944, when World War II was ending, but tensions were still high. One Sunday morning, the Rev. Cotter entered the church to find the cushions and altar defiled. The police were called and the tracks led back to Great Elm. It turned out that three Buckley girls and their friends did it as a prank.
There was a court case and the perpetrators plead guilty, resulting in a lot of negative publicity, lawsuits, and daughter Patricia not being accepted to Smith College, which had been a family tradition. Tanenhaus said the episode took on religious overtones, with some believing the Catholic Buckleys purposefully went after a Protestant church.
“That was another reminder of how key this town is,” said the author. “It was a painful event in the life of the Buckley family. But after that, there were signs of atonement.”
The book is due in June.
The entrance to Torrington Transfer Station.
TORRINGTON — Municipalities holding out for a public solid waste solution in the Northwest Corner have new hope.
An amendment to House Bill No. 7287, known as the Implementor Bill, signed by Governor Ned Lamont, has put the $3.25 million sale of the Torrington Transfer Station to USA Waste & Recycling on hold.
The amendment was added after the formation of the Northwest Resource Recovery Authority in Torrington in late May. The text added to the bill reads, “any permit or license relating to the Torrington Transfer Station shall be deemed transferred to the Northwest Resource Recovery Authority, or its designee, and shall continue in full force and effect.”
The change halted the sale to USA, which was unanimously accepted by MIRA Dissolution Authority at its May 14 board meeting, and reopened negotiations with municipal leaders. Torrington is one of two transfer stations in Connecticut, the other being Essex, that are still operated by MIRA-DA. Combined, more than 20 towns currently utilize these facilities.
Members of the Northwest Hills Council of Governments have been working to establish a public option for solid waste management for more than a year. In February 2025, MIRA-DA entered into a term sheet for a regional waste authority to take over the Torrington Transfer Station to be used as a central hub for regional hauling. Those plans were nixed after MIRA-DA’s May decision to privately sell the facility, until the amendment to HB 7287.
The Implementor Bill is “an act concerning the state budget for the biennium ending June 30, 2027,” according to the state website. It was signed by Lamont in early June.
MIRA-DA reviewed the situation at its board meeting Wednesday, June 18. Conversation mostly took place in executive session, but several speakers participated in public comment.
Supporting a public option, Torrington Mayor Elinor Carbone said, “I’m advocating for the local taxpayers for return on the investment that they’ve made over the years through tipping fees.” She continued, “The best way to return that investment is to strongly consider that public option that has been submitted on behalf of the NRRA.”
Selectmen in Cornwall, Falls Village, Goshen, Norfolk, North Canaan, Salisbury and Sharon have all expressed interest in pursuing a public option. Each of these towns continue to haul to Torrington utilizing existing state service agreements, which are due to expire in 2027.
Ed Spinella, attorney representing USA, characterized the Implementor Bill text change as a “rat amendment” that does not affect USA’s proposal. He said he intends to enforce MIRA-DA’s previous acceptance of the sale.
“It’s an enforceable vote and I guarantee you I’m going to make it enforceable,” said Spinella. “We were going to buy the facility regardless of whether or not it had a permit.”
He urged MIRA-DA to produce the necessary paperwork to move forward with the sale.
“I want to sign the documents so we can finish this deal,” said Spinella. “Are you going to be defined by cowering to a rat implementor, rat amendment of the Implementor Bill?”
Following a lengthy executive session June 18 that continued the next day, MIRA-DA recessed without taking action. The meeting was scheduled to continue Monday, June 23, at noon.
The new mural painted by students at Saint John Paul The Great Academy in Torrington, Connecticut.
Thanks to a unique collaboration between The Nutmeg Fudge Company, local artist Gerald Incandela, and Saint John Paul The Great Academy in Torrington, Connecticut a mural — designed and painted entirely by students — now graces the interior of the fudge company.
The Nutmeg Fudge Company owner Kristy Barto was looking to brighten her party space with a mural that celebrated both old and new Torrington. She worked with school board member Susan Cook and Incandela to reach out to the Academy’s art teacher, Rachael Martinelli.
“When Susan and Gerald brought this to me, I immediately saw it as a chance for my students to make something meaningful and lasting,” said Martinelli. “It wasn’t just about painting a wall, it was about teaching kids to serve their community through their art.”
Martinelli introduced the project as an after-school club for grades four through eight. “I wanted students who were truly committed,” she explained. Interest was so high that she had to divide participants into rotating grade-level groups, with occasional full-team days for collaboration. The mural became a long-term endeavor, stretching across a school year and a half.
The painting was created on canvas, a nearly 4’ x 27’ roll, donated by Incandela. The paint came courtesy of school principal Ed Goad. With materials secured, the students dove into research, studying maps, landmarks, and city history to inform their designs. “They worked to capture the spirit of Torrington,” Martinelli said. “But also, to match the whimsy of a candy shop.”
The result is a mural that features a playful “candyland” version of the city, where important buildings and landmarks are sized according to their importance to both the client and the community. “They created this hierarchy of bubbles and buildings, this joyful visual story,” Martinelli said. “It’s full of life.”
Beyond art skills, Martinelli witnessed her students develop qualities often harder to teach: teamwork, communication, resilience. “They learned to scale up sketches, mix large batches of paint for consistency, and adapt their work when it overlapped with someone else’s. They really respected each other’s contributions.”
The project also reflected the Academy’s Catholic STREAM (Science, Technology, Religion, Engineering, Arts, and Math) approach to education. “This was STREAM in action,” Martinelli explained. “They used technology to scale and transfer designs, applied math for proportions and spacing, and worked collaboratively to problem-solve. But they also lived their faith — through service, solidarity, and joy.”
Martinelli believes the mural speaks as much to the process as it does to the final product. “Some of the kids who worked on it have already graduated, but they’re coming back for the unveiling. That says something.”
The unveiling of the mural will take place at The Nutmeg Fudge Company on June 11, from 5:00 to 7:00 p.m., where families, friends, and community members are invited to celebrate the students’ achievement.
Asked what stood out most from the experience, Martinelli said, “For me, the most rewarding part was watching a diverse group of kids work together — different grades, different friend groups — all collaborating with respect, flexibility, and positivity. They created something beautiful, together.”
Curator Henry Klimowicz, left, with artists Brigitta Varadi and Amy Podmore at The Re Institute
For anyone who wants a deeper glimpse into how art comes about, an on-site artist talk is a rich experience worth the trip.On Saturday, June 14, Henry Klimowicz’s cavernous Re Institute — a vast, converted 1960’s barn north of Millerton — hosted Amy Podmore and Brigitta Varadi, who elucidated their process to a small but engaged crowd amid the installation of sculptures and two remarkable videos.
Though they were all there at different times, a common thread among Klimowicz, Podmore and Varadi is their experience of New Hampshire’s famed MacDowell Colony. The silence, the safety of being able to walk in the woods at night, and the camaraderie of other working artists are precious goads to hardworking creativity. For his part, for fifteen years, Klimowicz has promoted community among thousands of participating artists, in the hope that the pairs or groups he shows together will always be linked. “To be an artist,” he stressed, “is to be among other artists.”
Curator and owner Klimowicz and both artists spoke of the physicality of making art, revealing an abounding intimacy with their materials. Podmore recounted seeking the perfect bare branches to use in her “Fall,” the piece that dominates the center of the space.She would find those that most suggested figures slipping into a fall, and mimic them herself, as animators do for accuracy, before admitting them into the crew now lying on the floor.Each isunique, but all are united by their red-socked feet, which, though tiny, are touchingly rendered in adult proportions. For art professor Podmore, they signal how “failing in public” is a phenomenon today’s students must learn to navigate.
For Varadi, whose background is Rusyn-Carpathian, the main medium is Karakul sheep’s wool, a particularly robust variety used in Persian carpets. Her process of felting the fiber involves extremely hard labor; she wryly expressed hope that technology would ease the burden of this long-term project, best seen in her huge wall piece, “With Their Backs to the Mountains.” The title refers to the staunch resilience of her ancestors — stateless but proud, subject to historical violence.
In Varadi’s video “Hunia-Permission to Be,” the color red amid the chiaroscuro of snowy winter forests offers a mesmerizing counterpart to Podmore’s floorpiece.Wearing the traditional, oversized red felted coat called the Hunia, the artist silently plods through the lovely scene, suggesting cycles of effort, disappearing and reappearing.
Podmore’s video adds the aural element, with the creaking of trees rubbing against each other at various tilts.The title “Fifteen Degrees” indicates a tree’s maximum safe angle from vertical. Reflecting this, two silhouetted jointed figures lean against each other — by turns intimate and aggressive — a shockingly apt metaphor for current society.
“As a younger artist,” Podmore observed, “I was very serious about the human condition; now I see that it is just bizarre.”
Another of Podmore’s works, “Audience” — now on view at Mass MoCA — gives a nod and a wink to our strange time.Hundreds of unique plaster-cast baskets mounted along an 85-foot wall, some fitted with single mechanical eyes, offer viewers the experience of being viewed, to the quiet cacophony of eyes popping open.A must-see through Nov. 30.
The Re Institute exhibition can be seen through July 5, with hours Saturdays 1 to 4 p.m. and by appointment.More information at the reinstitute.com.