Bias exists in all facets of life, but Shoumita Dasgupta has focused the behavior on one particular discipline. In her book “Where Biology Ends and Bias Begins: Lessons on Belonging for Our DNA,” she talks about the need for inclusivity in the field of science.
Dasgupta, a geneticist and professor of medicine and assistant dean of diversity and inclusion at Boston University, will be holding a book talk on Thursday, April 17 at 6:30 p.m. at The Colonial Theatre in North Canaan.
The daughter of Bengali parents who came to the United States in the 1970s so her father could pursue an education in science and seek “the American dream,” Dasgupta remembers her childhood in central Pennsylvania. As the child of immigrants, she was able to fit in with others like herself, but was viewed as an outsider by others. Those experiences sparked her life-long interest in the area of equality and diversity.
Dasgupta went on to embark on an educational path, earning a bachelor’s degree from the Massachusetts Institute of Technology and both a master’s and Ph.D. from the University of California.
In discussing the topic of her book, Dasgupta said in science, like any other type of society, there is some inclusion and some not. That realization has helped her acclimate to being comfortable in her own skin, which in turn, provides her with mentoring tools when dealing with her students. Her hope is to make it easier for others who don’t identify with a major group.
Dasgupta explained that she has been teaching a course about inclusivity with medical and Ph.D. students in which various topics such as sex/gender, biology and disabilities are discussed. She found the curriculum led to meaningful conversations and that what started as an anti-racist genetics project shifted to one of anti-oppression.
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An editor, learning about the class, suggested she put the topics all together in a book. Her vision was to highlight the importance of bringing people together with a historical perspective and while honoring that history, hoping mistakes that were made aren’t repeated.
Talking about history, Dasgupta said science began centuries ago as a hobby for the upper echelons of society who had money to pursue their interests. This hierarchical structure led to almost predetermined outcomes that were often flawed, such as a belief that race was the reason for particular medical issues. She said that’s what oppressive science looks like now.
Dasgupta said science is a social structure and there is a need to check individual biases so as not to promote further harm. Using the term “virus of bias,” she said education is needed to overcome this way of thinking. She also fears the potential misuse of technology and the need to ensure its proper use before it’s released into society.
Dasgupta hopes a takeaway from her book is that people see the commonality among populations. She is also hopeful that all people can learn from one other.
To reserve tickets, visit: www.canaancolonial.com
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Marge Parkhurst with a collection of historic nails recovered from wall cavities during restoration work.
“At first it just looked like old paint,” said Parkhurst, who has been painting and restoring historic homes in Litchfield County for decades. “Until I realized it was a stencil, a beautiful pattern that repeated.”
She kept going carefully — a wet sponge, hot water, a little fabric softener — peeling back until she could see it clearly. A climbing vine emerged, applied in vertical runs to give the wall the look of wallpaper. Someone had signed it. The signature was faint, tucked above the baseboard in the corner, not fully legible. But the date was clear: 1870.
Parkhurst, owner of Cottage & Country Painting Co., has worked in enough old houses to develop a practiced eye for what they conceal — understanding that layers of paint, paper and plaster in a 19th-century New England home form a kind of compressed archive of the people who lived there.
The stencil bore a strong resemblance to what historians call Moses Eaton-type stenciling — a tradition of itinerant craftsmen who traveled New England in the early 1800s with portable kits of cut-pattern stencils. Their trade flourished because imported wallpaper was expensive. Stenciling offered the same visual effect at a fraction of the cost.
“These stencilers typically worked for a combination of cash, food and lodging,” Parkhurst said. “Their compensation was modest by any standard.” She paused, “He was a tradesman. But the work he left behind — that’s art.”
The vine pattern was dull with age but still legible. One section had survived intact beneath the layers of paper. The homeowners chose not to paint over it — instead building a wooden frame around it, a small window into 1870.
“Preservation means protecting something to prevent further deterioration,” she said. “Restoration means returning something to a previous state. In that room, we preserved what was there.”
This bottle is from the Hartmann Brewing Company of Bridgeport, CT, found inside a wall of a former railroad outbuilding relocated from Canaan to Colebrook CT. The bottle was sealed with a glass stopper held by a wire, inside was a grocery list written on the back of an envelope postmarked 1915. Photo courtesy of Marge Parkhurst/Cottage & Country Painting Company
A Station’s Secrets
Not every discovery is decorative. Some are written into the bones of a building.
Parkhurst’s own home in Colebrook is a former railroad outbuilding moved from Canaan in 1920. Scraping the trim revealed it had once been sage green — and beneath that, a warm orange-brown soaked into the wood grain. “Old paint was made more like a stain back in the 1800s,” she said. “It penetrated the wood rather than sitting on top of it — so there’s never a shine.”
Up in the attic, eye bolts still anchored in the framing mark where cables stabilized the building during its move a century ago.
The most memorable find came by accident. Cutting open a wall under the stairs, she found a clear glass bottle sealed with a glass stopper held by a rusted wire. The label read: Hartmann Brewing Co., Bridgeport, Conn. It took days of careful oiling to free the stopper. Inside: a handwritten list of sandwiches and drinks, a postage stamp still attached. Not treasure. But a treasure just the same.
“I worked for days to get that thing open — and it was just somebody’s lunch order.”
Newspapers stuffed into wall cavities, hand-wrought nails, paint layers thin as stain — over 50 years, Parkhurst has cataloged the details that tell a trained eye when a house was built and by whom. Litchfield County’s architecture is unusually varied: Georgian and Federal-style houses on Litchfield’s Main Street, industrial buildings along the rivers in Torrington and Winsted. “Each town has its own fingerprint,” she said.
The most consequential mistake she sees is changing a home’s character. “When you paint over stained woodwork, you hide the details. You can’t get them back.” She has talked more than a few owners out of it. Some have listened.
Not long ago, Parkhurst and her grandchildren gathered a few small objects, wrote a letter and tucked it into a wall of her Colebrook home. Someone will find it — a record of people who were once here.
“Walls still surprise me,” she said. “If you look hard enough, you can find buried treasure.”
In a county full of houses whose walls hold untold stories — stenciled by traveling tradesmen, nailed together by farmers, papered over by housewives following the fashions — Marge Parkhurst has spent a lifetime reminding us that history doesn’t only live in museums. Sometimes it’s hiding just behind the wallpaper.
Marge Parkhurst is the owner of Cottage & Country Painting Co. She can be reached at marge@cottageandcountryct.com or 860-379-4748.
Sarah Belzer is a writer, editor and creative director whose career has crossed journalism, advertising, film and cultural commentary. Managing Editor of The American Rant and founder of Jump Advertising, she has spent three decades shaping narratives for media and national and global brands.
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