Sun all day, Rain all night. A short guide to happiness and saving money, and something to eat, too.

Pamela Osborne

If you’ve been thinking that you have a constitutional right to happiness, you would be wrong about that. All the Constitution says is that if you are alive and free (and that is apparently enough for many, or no one would be crossing our borders), you do also have a right to take a shot at finding happiness. The actual pursuit of that is up to you, though.
But how do you get there? On a less elevated platform than that provided by the founding fathers I read, years ago, an interview with Mary Kay Ash, the founder of Mary Kay Cosmetics. Her company, based on Avon and Tupperware models, was very successful. But to be happy, she offered,, you need three things: 1) someone to love; 2) work you enjoy; and 3) something to look forward to.
Like a lot of advice — to lose weight, for example, eat less and exercise, that’s one I’ve heard a few times — this is deceptively and falsely simple. It’s pretty hard, really, to be lucky enough to enjoy your work day in/day out. And given divorce rates, it seems that someone to love can be a bit scarce on the ground, too, and so this category may need to be expanded to include whatever else you might be able to love. The last condition — something pleasing on the horizon— is, perhaps the one most able to be made to happen. Vacations on the high end, looking out the window or a good night’s sleep on the low.
What Mary Kay failed to mention is how very difficult it is to have all three of these things working for you at the same time. It’s tough. So best not to think about that too much, but instead just close our eyes and focus on what might be possible. Small small, that’s the ticket.
Based on what makes some days better for me, and on what is realistic, here’s a suggestion for a low key approach to adding an attainable, achievable something to look forward to to your life. If there’s one thing I don’t look forward to, it’s having to face an evening of standing at the sink and the stove at the end of a long day. Fast food and take-out fortunes have been made by people who figured out how to capitalize on this, to the detriment of neighborhood bank accounts everywhere. Much better to plan ahead, bothering in advance to fix something that’s good and ready to eat at the end of the day, so that all that’s needed is a quick heating up. Look at it as one step taken on the road to a happier few moments as shadows lengthen at the end of the afternoon. Works for me. Well, along with a toast to those who are with us, and to those who are not.
This recipe can be put together from items you may already have on hand. You might want to give it a try, it’s simple and good.
This stew, though served hot, is light, and fine for this still between-seasons time of year.
And, happily, you will find it to be easy and economical. If you are feeling pinched these days, you can leave out the fish and add more beans. In that case, you might want to add fish stock cubes instead of the vegetable stock cubes specified, for a bit of extra flavor. You can, of course, use fresh fish instead of frozen, but that defeats the convenience of having a pantry-available meal. Regardless, and by the way, this is more than good enough to serve to a table of friends, if you choose to do that, and no one, including the cook, will feel hard done by. Or, if it’s just you or a few at the table, make a potful, dip out what you need for a meal, and heat it in the microwave for a few minutes. Keep the rest for an easy tomorrow, it keeps well.
8-10 servings
2 or 3 TB olive oil. A neutral oil is fine. I use Berio.
2 TB unsalted butter
2 sticks celery, halved lengthwise and very finely sliced, just a bit more than paper thin
Some celery leaves from the center of the bunch, rinsed and dried
4 medium shallots, peeled and quartered, OR 1 medium onion—red or yellow—roughly chopped
4 or 5 garlic cloves (small to medium), peeled and very finely sliced. And no, it won’t taste too garlicky: it isn’t smashed or pressed, which intensifies that.
1 1/2 tsp. fennel seeds
A bunch of parsley, washed and dried. You will use the stems for the stew, the leaves for garnish. You want about 3/4 cup finely chopped parsley leaves. Medium chop the stems, 1/4” to 1/3” long.
1/2 c. dry white wine. I used what remained of a bottle; it may have been a bit more than half a cup, and had been sitting in the fridge for several weeks.
2 28-oz.cans of peeled plum tomatoes. I use Cento, and you needn’t buy the more expensive San Marzanos. With my washed hands, I take the tomatoes out of the can one by one and put them in a bowl, having removed the stem end and any stringy bits hanging from it, and any overlooked pieces of skin. Check the remaining tomato liquid for random bits of skin, too, before adding it to the bowl. All of these are indigestible, basically, and removing them improves the end product. But if you don’t care about that, just dump in the can as is. The tomatoes will need to be broken up a bit as you stir, with a wooden or silicone spatula.
One 15.5-oz. can of small white beans, rinsed and drained; Roman, flageolet, navy. I buy Goya.
One 15.5-oz. can of larger white beans, rinsed and drained. Butter beans are good, cannellini would do, too. Again, Goya.
2 cubes of vegetable stock. Mince these into small pieces before adding, they’ll dissolve more quickly.
Two pounds of frozen fish, thawed, rinsed, and cut into largish pieces, as they will break apart when cooking. Use a flaky fish, not a meaty one. I used one package of cod, and one of bay scallops, both bought on sale, which were in my freezer. The scallops (and by the way, in the past bay scallops were considered a delicacy compared to sea scallops, and were much more expensive; the reverse is true now, go figure) were very good, but all cod would be fine, too. If you’re not using fish, rinse and drain another can of beans, add that, see if one additional can is enough. This is not a thick stew, it should be a somewhat thinner, soupyish one. Add another can if you think it might be a good idea. The beans will swell as they cook, and will thicken the broth a bit; so if you’re uncertain, be conservative. You can always add more beans later.
Lemon wedges to serve, with Maldon salt and freshly ground pepper, and hot pepper flakes or oil
Melt the oil and butter in a large pan (a six or seven-quart Dutch oven, for example) over low heat. Add the celery, shallots, fennel seeds, and chopped parsley stems, with a pinch of salt. Cook slowly, stirring frequently, until the shallots and celery are very soft, but not browned at all. When they are nearly soft, add the garlic slices, being careful not to let them burn, and cook to soften. Raise the heat to medium, add the wine and let it simmer for 3 or 4 minutes, and then add the tomatoes, beans, and chopped vegetable stock cubes, which will dissolve. Add a cup of water, if things look too thick. Bring to a boil, turn down the heat, and simmer for about half an hour, stirring periodically.
Add the fish pieces, nestled into the top of the stew. Reduce the heat to low. Cover the pot and let this cook for about ten minutes, no more, until the fish is opaque and flaking. If you are using bay scallops, add them later, cook only 3 to 4 minutes. Once the fish is cooked, you can stir it in.
This should be prepared several hours ahead, so that the beans have mellowed and the seeds have softened. If serving the same day, I leave the base on the stove, covered, and reheat it slowly at dinner time. In that case, don’t add the fish until the base is hot, shortly before you’re serving it. If you have leftovers, keep the casserole in the refrigerator, and dip out and reheat only what you will need at that time.
Wrap the chopped parsley and celery leaves in waxed paper, wrap that in a damp paper towel, and wrap that loosely in plastic wrap. This will keep for several days in the refrigerator, and should be sprinkled over the stew. Serve with lemon wedges, etc., as above, along with some good bread. If you aren’t serving this to a crowd, you will have some easy evenings ahead, with very little to clean up. Cheers!
Sun all day, Rain all night? A friend once told me he’d had a perfect childhood, and this evocative short description of it was the only one offered. So peaceful and simple, and a guide.
Pamela Osborne lives in Salisbury.
Legal Notice
The Planning & Zoning Commission of the Town of Salisbury will hold a Public Hearing on Special Permit Application #2025-0303 by owner Camp Sloane YMCA Inc to construct a detached apartment on a single family residential lot at 162 Indian Mountain Road, Lakeville, Map 06, Lot 01 per Section 208 of the Salisbury Zoning Regulations. The hearing will be held on Monday, November 17, 2025 at 5:45 PM. There is no physical location for this meeting. This meeting will be held virtually via Zoom where interested persons can listen to & speak on the matter. The application, agenda and meeting instructions will be listed at www.salisburyct.us/agendas/. The application materials will be listed at www.salisburyct.us/planning-zoning-meeting-documents/. Written comments may be submitted to the Land Use Office, Salisbury Town Hall, 27 Main Street, P.O. Box 548, Salisbury, CT or via email to landuse@salisburyct.us. Paper copies of the agenda, meeting instructions, and application materials may be reviewed Monday through Thursday between the hours of 8:00 AM and 3:30 PM at the Land Use Office, Salisbury Town Hall, 27 Main Street, Salisbury CT.
Salisbury Planning & Zoning Commission
Martin Whalen, Secretary
11-06-25
11-13-25
Notice of Decision
Town of Salisbury
Planning & Zoning Commission
Notice is hereby given that the following action was taken by the Planning & Zoning Commission of the Town of Salisbury, Connecticut on October 20, 2025:
8-24 referral was deemed consistent with the Plan of Conservation and Development - For the use of town-owned land at 20 Salmon Kill Road, Salisbury for housing, recreation, and conservation. The property is shown on Salisbury Assessor’s Map 11 as Lot 26.
Any aggrieved person may appeal these decisions to the Connecticut Superior Court in accordance with the provisions of Connecticut General Statutes §8-8.
Town of Salisbury
Planning &
Zoning Commission
Martin Whalen, Secretary
11-06-25
Notice of Decision
Town of Salisbury
Inland Wetlands & Watercourses Commission
Notice is hereby given that the following actions were taken by the Inland Wetlands & Watercourses Commission of the Town of Salisbury, Connecticut on October 27, 2025:
Exempt - Application IWWC-25-75 by Elaine Watson to install a 4’ by 45’ removable dock adjacent to the high-water mark of Lake Wononscopomuc. The property is shown on Salisbury Assessor’s map 47 lot 11 and is a vacant parcel located between 123 & 137 Sharon Road, across from and associated with 126 Sharon Road. The owners of the property are Paul and Elaine Watson.
Approved with the condition that any additional permits required for this project are filed with the Land Use Office - Application IWWC-25-74 by Richard Riegel, Principal of Lime Rock Park II, LLC to reinforce compromised river bank and implement riparian restoration in partnership with Trout Unlimited. The property is shown on Salisbury Assessor’s map 04 lot 16 and is known as 497 Lime Rock Road, Lakeville. The owner of the property is Lime Rock Park II, LLC.
Approved - Application IWWC-25-72 by George Johannesen of Allied Engineering Associates, Inc. for an addition to the existing house, construct garage, relocate driveway, landscaping. The property is shown on Salisbury Assessor’s map 08 lot 03 and is known as 396 Salmon Kill Road, Lakeville. The owners of the property are Randall Allen and Margaret Holden.
Approved subject to conditions recommended by the Town Consulting Engineer and the relinquishment of permit 2024-IW-036 - Application IWWC-25-69 by Bob Stair to construct an addition to the existing house and driveway in the upland review area. The property is shown on Salisbury Assessor’s map 67 lot 07 and is known as 300 Between the Lakes Road, Salisbury. The owner of the property is 280 BTLR LLC.
Approved subject to conditions recommended by the Town Consulting Engineer - Application IWWC-25-73 by Hotchkiss School (Michael J. Virzi) for a restoration plan for the existing temporary dining building at the Hotchkiss School. The property is shown on Salisbury Assessor’s map 06 lot 09 and is known as 22 Lime Rock Road, Lakeville. The owner of the property is Hotchkiss School.
Any aggrieved person may appeal this decision to the Connecticut Superior Court in accordance with the provisions of Connecticut General Statutes §22a-43(a) & §8-8.
11-06-25
NOTICE TO CREDITORS
ESTATE OF
DEBRA ANN WHITBECK
Late of North Canaan
(25-00419)
The Hon. Jordan M. Richards, Judge of the Court of Probate, District of Litchfield Hills Probate Court, by decree dated October 16, 2025, ordered that all claims must be presented to the fiduciary at the address below. Failure to promptly present any such claim may result in the loss of rights to recover on such claim.
The fiduciary is:
Donna L. Cooke
65 Orchard Street
North Canaan, CT 06018
Megan M. Foley
Clerk
11-06-25
NOTICE TO CREDITORS
ESTATE OF
THOMAS CROSBY DOANE
Late of North Canaan
(25-00388)
The Hon. Jordan M. Richards, Judge of the Court of Probate, District of Litchfield Hills Probate Court, by decree dated October 9, 2025, ordered that all claims must be presented to the fiduciary at the address below. Failure to promptly present any such claim may result in the loss of rights to recover on such claim.
The fiduciary is:
Jase Doane
5 Clearwater Lane
East Hampton, CT 06424
Megan M. Foley
Clerk
11-06-25
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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.
Sharon, 2 Bd/ /2bth 1900 sqft home: on private Estate-Gbg, Water, Mow/plow included. utilities addtl. Please call: 860-309-4482.
Falls Village, CT
Saturday November 8 Tag Sale in the Barn: 91 Main Street in Falls Village 10 to 3 pm. Please Park in town parking available along Main St. Tools, wood working tools, bench, furniture, antique doors, out door planters, Halloween and Christmas decorations and much more.

In Amenia this fall, three artists came together to experiment with an ancient process — extracting blue pigment from freshly harvested Japanese indigo. What began as a simple offer from a Massachusetts farmer to share her surplus crop became a collaborative exploration of chemistry, ecology and the art of making by hand.
“Collaboration is part of our DNA as people who work with textiles,” said Amenia-based artist Christy Gast as she welcomed me into her vast studio. “The whole history of every part of textile production has to do with cooperation and collaboration,” she continued.
That sense of shared purpose is at the heart of the invitation Gast extended to artists Natalie Baxter and Janis Stemmermann to process a bumper crop of Japanese indigo (Persicaria tinctoria) at her studio this fall. All three artists’ practices intersect through material, process and an interest in the handmade. Gast and Stemmermann have collaborated on a series of hand-knit vests dyed with black walnut, available through Stemmermann’s store, Russell Janis. Baxter is a Wassaic Project residency and fellowship alum, who is leading a community quilting workshop there on Nov. 15. She also co-directs “Cottage Courses” with artist Polly Shindler, a series of hands-on artmaking workshops throughout the region.
“Lisa Dachinger of Hilltop Farm & Fiber Arts north of Pittsfield, Massachusetts had an abundance of indigo this year,” said Gast of her learning about the crop’s availability.In two trips to the farm, Gast harvested the plants and began experimenting with the ancient art and science of extracting pigment from the plants and transforming it into rich, layered blues.

“There are a lot of steps,” Gast noted with a laugh, as vats of aerated indigo bubbled in the corner of the studio. The process is slow and physical, dependent on timing, temperature and a kind of faith in chemistry. The freshly harvested Japanese indigo leaves are first soaked in warm water and left to ferment for several days. The plant matter is then removed, the solution is strained and the pH is raised with the addition of calcium hydroxide, and then the mixture is aerated, poured back and forth between containers until it oxidizes and the pigment turns dark blue. After the indigo settles to the bottom, the resulting paste is filtered, dried and ground into powder. Only then is it ready for dyeing.
But as Stemmermann pointed out, “It’s not a dye. It’s a coating and reaction.” Indigo’s elusive chemistry means each piece is unpredictable, shaped as much by chance as by control. To achieve a deep, saturated blue, “you have to layer it and dip it up to eight times,” she explained.
Each artist uses dye in their work, albeit quite differently, yet all share a deep sensitivity to material and process. “There is a seasonality to textile work,” said Baxter, referring to dye plants.“First, there’s the planting. And then you wait for them to grow, you harvest them, you dye the fabric and then it’s wintertime.” During quilt season when our attention turns inward, the patient, hands-on process becomes a meditation on slowness for Baxter, mirroring the rhythm of the earth and a quiet longing to move with it.

For Gast, working with plant dyes is a way to align artistic practice with ecology and activism. “I’m working on a project that will be showing at Mass MoCA in 2027,” she explained. “It’s a collaborative opera about peatlands for which I’m producing a textile installation that functions as the curtains. I’m using as many natural and regional processes as possible because our work has to do with local-to-global activism and conservation. There is a chemical alchemy in peatlands, which despite covering just 3% of the Earth’s surface, capture more than twice the carbon of all the planet’s forests combined. There’s a direct poetic alignment between plant dye processes and peatlands, which preserved some of the earliest textiles we know of. And the color palette is ancient, both familiar and uncanny.”
There’s a certain chaos in balancing experimentation with intent. For Gast, Baxter, and Stemmermann, this first attempt at pigment extraction has been as much about curiosity as outcome, a communal act of making, rooted in patience, experimentation and discovery.
To find out more about these artists, visit: christygast.com, nataliebaxter.com and janisstemmermann.com