We gather together: A homeless family’s story

Cristina and Kayla Garcia shared their story with The Lakeville Journal Nov. 19.
Jennifer Almquist

Cristina and Kayla Garcia shared their story with The Lakeville Journal Nov. 19.
Here in the Northwest Corner of Connecticut, where the first frost comes early, and black bears hibernate, the woods are inhabited by hundreds of people sleeping rough.
There has been a 14% rise in homelessness in Connecticut since 2022. There are now 482 “people in need of homeless response systems”, according to Connecticut Coordinated Access Network (CAN), many of them senior citizens.
Cristina and Ricardo Garcia asked a simple question, “Why is there no place in the world for us?”
The Garcias, with their 22-year-old daughter Kayla, are a family who spend each night sleeping in a tent city in Waterbury. They take a bus in the morning to the Gathering Place in Torrington for warmth and showers, then eat their meals together at the Community Soup Kitchen in town. Their fierce desire to stay together as a family has its genesis in years of suffering, deprivation, substance abuse, prison, and escape.
Family is all that matters to them. It is all they have.
“My daughter is shy, so speak quietly to her,” Cristina whispered, explaining further that Kayla and her sister Jessica, who is 18, are on the autism spectrum. Cristina and her girls escaped years ago from her abusive husband. Her girls were then taken from her when they were 12 and 14. Cristina, who has been clean for two years, suffered from substance use disorder. It has been six years since Cristina has seen Jessica.
Her daughter Kayla, her long braids tucked under a watch cap, was wearing headphones to mask out loud shouts of men heatedly discussing the mistreatment of criminals. Kayla’s expressive brown eyes gave away her discomfort. The homeless resource center was packed with women and men in from the November cold; some on cellphones, some waiting with their towels for a warm shower, others quietly sipping hot coffee.
The Gathering Place in Torrington is a daytime drop-in center for the 482 homeless neighbors who live in Litchfield County, Connecticut. The food pantry at Friends in Service to Humanity (FISH) in Torrington serves more than 2,000 people.
There are currently 51 shelter beds in Northwest Connecticut: 16 in Winsted and 35 in Torrington with 5 restricted to veterans. As of today, there will be 30 overflow shelter beds for the winter season.

At the Community Soup Kitchen in Torrington’s Trinity Episcopal Church Nov. 19, Cristina folded her family’s laundry on the table she had just cleared from the breakfast crowd. She paused to talk and reflect on her difficult journey.
Cristina Garcia: My husband Ricky just started working. He’ll be coming home with literally $72. a week. Sometimes I feel like no one cares. We’ve been clean for two years. We’ve had our ups and downs with our kids. My adoptive mom passed away and my dad passed away in a housefire. So, I don’t have any family. I had an abusive relationship basically, which I escaped with my daughters because it was very bad. My new husband Ricky and I met here, and we’ve been together for almost four years. Because of my earlier situation, my kids were taken from me.
Jennifer Almquist: How old were they when they were taken from you?
CG: They were taken away for six years when Kayla was 14.
JA: During that time were you allowed to have any communication, or hear how the girls were doing?
CG: Like I said, I was in an abusive relationship, and he was in charge. Kayla came back to me last January. It was rough. It is hard when you have no family, nothing to fall back on. Family is just me, my husband and my kids. Now there’s the Gathering Place, and the soup kitchen people that I consider family. They open their arms to us and have been very good, very kind to us.
JA: Did you have housing at some point?
CG: I did, but I lost my housing voucher because I was out of the household for over 20 days. I was incarcerated due to charges from five years ago. I was legally married, but they wouldn’t take in consideration the impact on the girls. The rent was still being paid - it was still being paid the whole time but they took the voucher away. So now it’s like, “do you have a lawyer - somebody to step forward?” Nobody comes forward. We didn’t appeal. We lost everything, so altogether we’ve been out on the street since I got out, so in and out, trying to keep the apartment, but we got notice from the city to quit the apartment, so now we’re on the streets.
JA: Do the charges on your record mean you have to start all over again to get a housing voucher?
CG: We’re just hoping for another voucher.
JA: Is that a lot of pressure when you are trying to stay straight?
CG: It is great to keep my mind straight by volunteering at the Soup Kitchen. When we first started coming here, my husband and I kept telling the boss DJ, if you guys need help, just let us know. You’re helping us out by giving us breakfast, giving us lunch. Suddenly one day the foundation that helps them provide the food wanted to interview somebody that was coming here. Someone that could explain to them the impacts, and how welcoming it is here. They interviewed me, and since that day I’ve been volunteering here. I basically go to the Gathering Place in the morning, take the shower and do laundry, come straight here by 9:30. From that time until around 2:30 I work in the kitchen and prep and serve food. I like it because it’s community. I love being here just because they are so kind to us. My daughter has a hard time talking to new people or getting to know new people. She has a close relationship with someone here now.
JA: What was her living situation when you weren’t with her?
CG: Kayla and Jessica were in foster care. I had no access to anything. Now it’s like starting all new, trying to apply for Social Security, Kayla’s been denied numerous times, and getting a copy of her birth certificate is expensive. That’s what I’m going through right now. She needs help. They say “we can’t help” because they don’t think she has that many issues because she doesn’t hear voices, and she’s not, in their minds, crazy like other people. Kayla does have mental health issues. Jessica didn’t start talking until she was six. It’s just sad that people don’t take in consideration what the impact of situations like being in foster care, or being homeless, are on kids. Especially if you’re a sensitive kid. Kayla is 22 but her mentality sometimes isn’t like her age.
JA: How does Kayla do with the sleeping arrangements and the cold?
CG: No, it’s horrible. All you just have is a tent in the world. People take your stuff; you can’t trust anybody -that’s just how it is. We have a small U-Haul as a storage unit that is expensive. We had to get rid of most of our stuff. It’s just hard, really hard especially with the holidays coming up.
JA: How do you three get warm in your tent?
CG: We layer up with four blankets on, then jackets and sleeping bags. Ricky puts a wooden pallet under the tent, but it’s like sleeping on the floor.
JA: What are you doing for Thanksgiving?
CG: The soup kitchen is not open on Thanksgiving. When you’re homeless you don’t get a break, you don’t get time, the days are endless. Holidays are just another day, not like anything special. We can’t plan anything. We have no way to cook anything. Every day in the woods, it’s just eating out of cans. We may not be able to have a Thanksgiving feast this year, but for Christmas, for my kids and my step kids, there’s no hope of getting them something special. Sometimes I just feel like I’m screwed. I just feel like as much as I try, it’s like I’m trying for what is not possible. It’s hard to keep hoping. These holiday times hurt the most. This is our first holiday back together in six years now that she’s back with us. I want am waiting until my youngest is 21 and graduates this June. For her to be allowed to come home, I must have housing. I feel like it might be a lot to ask, but I just want my family back together.
JA: What are you grateful for?
CG: Kayla loves her stepdad, and he’s very good to us. He walks up the mountain to work at Target. He walks because he can’t drive. We want to get him a bike. Hopefully by December the warming center will reopen. Lori at the Gathering Place helps us so much. She’s an amazing person. I had open heart surgery. They put in a pacemaker that needs replacing, but they can’t do the surgery and then discharge me to the street, so my surgery is being put off. I have seizures, so I need a calm setting. I’m grateful for Lori because she watches out for us. I have met amazing people through her, like the people in this kitchen, for DJ and Bill, and the opportunity to give back, you know. It’s important because I want to make sure I stay on track with my sobriety. Being around positive people helps me. I am trying not to cry. I want to have everyone together for Thanksgiving.
D.H. Callahan
Contemporary chamber musicians, HUB, performing at The Clark.
Northwestern Massachusetts may sometimes feel remote, but last weekend it felt like the center of the contemporary art world.
Within 15 miles of each other, MASS MoCA in North Adams and the Clark Art Institute in Williamstown showcased not only their renowned historic collections, but an impressive range of living artists pushing boundaries in technology, identity and sound.
MASS MoCA is known for its 20th-century holdings spread throughout a sprawling complex of industrial brick buildings. Installations by Sol LeWitt and James Turrell have permanent homes there. Just down the road in Williamstown, the Clark features masterworks by Winslow Homer, Frederic Remington, John Singer Sargent and Claude Monet.
But what visitors might not immediately associate with those established names is how deeply both institutions invest in art happening right now.
On Saturday afternoon, a panel of young artists discussed their relationships with art, identity and technology as part of MASS MoCA’s “Technologies of Relation” exhibition, which opened that evening. The artists represented a broad range of cultural backgrounds, drawing on ancestry while exploring the future of art and technology.
The work itself ran the gamut: wax relief paintings, stained glass, interactive video and sculptural installations. One immersive piece automated the traditional Armenian practice of reading fortunes from coffee grounds. Particularly striking were Roopa Vasudevan’s hand-drawn QR codes and Taeyoon Choi’s large-scale weavings of binary code.
Opening the same night was Zora J. Murff’s “RACE/HUSTLE.” Through photographs, paintings and installations, Murff explores the wide-ranging and sometimes violent implications of being Black in America today. Each piece — whether confronting the rise of white supremacy or examining stereotypes imposed on Black communities — carries razor-sharp visual commentary designed to unsettle.

On Sunday, the Clark continued the contemporary thread. A small exhibition of work by Raffaella della Olga, titled “Typescript,” features intricate patterns created using a typewriter on varied paper surfaces. The effect seems almost impossible until viewers watch a video of della Olga loading her typewriter with 140-grit sandpaper and typing in a hypnotic rhythm. Though the typewriter is considered obsolete technology, she continues to find new applications for it, completing some of the works in recent months.
Next door in the Clark auditorium, HUB New Music performed works written specifically for its unusual instrumentation: violin, cello, clarinet and flute. While that combination may not stand out to casual listeners, relatively little classical repertoire exists for it. The ensemble regularly commissions composers to expand the possibilities.
The results were striking. From the opening notes of Francisco del Pino’s “Passacaglia,” the quartet’s command and layered repetition pulled unexpected emotion from the audience.
After three pieces came the world premiere of Daniel Wohl’s “Mirage,” a roughly 25-minute work accompanied by digital blips, static and electronic textures evoking radio transmissions and UFO lore. Hearing four virtuoso musicians extract entirely new sounds from traditional instruments echoed the weekend’s larger theme: old tools made new again.
Like della Olga’s typewriter, Vasudevan’s QR codes or Murff’s charged imagery, the performances demonstrated that contemporary art often grows from familiar materials — reimagined.
The old masters will always draw visitors to these institutions. But when living artists command equal attention, this quiet corner of the Berkshires feels less like the middle of nowhere and more like a creative epicenter.
D.H. Callahan is a voice actor, creative director and trail steward. He lives with his artist wife in West Cornwall, Connecticut.
Aly Morrissey
Francesca Donner, founder and editor of The Persistent. Subscribe at thepersistent.com.
Francesca Donner pours a cup of tea in the cozy library of Troutbeck’s Manor House in Amenia, likely a habit she picked up during her formative years in the United Kingdom. Flanked by old books and a roaring fire, Donner feels at home in the quiet room, where she spends much of her time working as founder, editor and CEO of The Persistent, a journalism platform created to amplify women’s voices.
Although her parents are American and she spent her earliest years in New York City and Litchfield County — even attending Washington Montessori School as a preschooler — Donner moved to England at around five years old and completed most of her education there. Her accent still bears the imprint of what she describes as a traditional English schooling.
Today, she and her family call Sharon, Connecticut, home. While she still travels frequently to Manhattan, she embraces the contrast between city and countryside.
“For me, it’s all about the contrast,” she said, adding that she is friendly and curious about people here in a way that doesn’t feel natural in the city. “I want to know who you are, what you do, and why you’re here. You end up meeting these really interesting people.”
As a longtime editor in newsrooms like The Wall Street Journal, The New York Times and Forbes, Donner said she began to notice something unsettling about how stories were framed, and whose voices were missing.
“It’s just the way news is done,” she said. “It’s the DNA of what we deem newsworthy and important in mainstream media.”
The problem, she explained, isn’t that women aren’t covered at all. It’s that when women are covered, it’s often in a stereotyped way. Women are frequently framed through familiar narratives – the gender pay gap, unpaid labor, caregiving – important issues that persist, she said, but are often treated as repetitive or secondary. Meanwhile, the stories deemed front-page worthy tend to revolve around power, economics, war and politics — and men.
“If we don’t make a deliberate effort to cover women, women won’t be covered,” Donner said.
The issue isn’t unique to any outlet, she stressed. “It’s just the way news is done.”
But that DNA — who gets quoted and whose experiences are centered — has consequences.
And for Donner, that realization demanded a response.
Enter The Persistent.
Founded in 2024, The Persistent was built around what Donner calls a simple but deliberate premise.
“Women don’t get covered in the same way men get covered,” she said.
The goal isn’t to exclude men or create a siloed “women’s section.” Instead, Donner said, it’s about correcting an imbalance by putting women at the center of the story.
Describing the approach as a reframe, this means expanding who is quoted as an expert. It means spotlighting women in business, politics, culture and global affairs. It also means examining major news stories through a lens that mainstream outlets often overlook.
“What we can add,” she said of The Persistent, “is perspective.”
Now approaching its second year — a milestone that will be celebrated next month — the publication operates with an all-women team of writers, editors and illustrators based across the world. The team meets regularly over Google Meet.
“They’re awesome,” Donner said of the editorial meetings. Some of her staff are mothers, some are not. All bring lived experiences to the table. Donner has intentionally created a newsroom culture that balances rigor with support.
“If your writing doesn’t measure up, I’m going to tell you,” she said plainly. “But it’s not a battle. It’s a partnership.”
Beyond publishing stories that matter, Donner wants contributors to be seen.
“I don’t just want people to read the story and forget who wrote it,” she said. “We can do a lot better if we amplify each other.”
As a woman, Donner rejects the idea that success is finite. She wants everyone to have a slice of the pie.
“Just make the pie bigger,” she said. “Bring more seats to the table. Make it richer.”
Donner credits her “mum” for articulating what would become her professional identity.
“You are what you can’t help doing,” her mother used to say.
Today, without hesitation, Donner said she can’t help being an editor.“My identity as an editor is very strong,” she said. Editing, she explained, is less about correcting typos and more about building and shaping ideas.
“Sometimes I imagine this physical movement of cracking something open,” she gestured.
That instinct traces back to childhood. She recalls sitting in a classroom around age 10, listening to a classmate read a short story aloud. For Donner, that moment crystallized something fundamental.
“Someone else’s words made me just sit up straight in my chair and think, wow, that is so good.”
Today, whether she’s in a historic manor house in Amenia or on a Google Meet with her team across the globe, that instinct remains the same: crack the story open, elevate the unheard voice and reframe the narrative.
Natalia Zukerman
On March 7, Berkshire Opera Festival will bring “Winterreise” to Studio E at Tanglewood’s Linde Center for Music and Learning, with baritone Jarrett Porter and BOF Artistic Director and pianist Brian Garman performing Franz Schubert’s haunting 24-song setting of poems by Wilhelm Müller.
A rejected lover. A frozen landscape. A mind unraveling in real time. Nearly 200 years after its premiere, “Winterreise” remains unnervingly current in its psychological portrait of isolation, heartbreak and existential drift.
Porter, praised by Opera News for his “imposing baritone” and “manifest honesty,” has built his career on major European opera stages, including Oper Frankfurt. But recital work, he says, is closest to his heart.
“I love to recital. If I were to pick my career, I would be doing some opera and mostly recital,” he said. “I think there can be difficulty with grabbing an audience in a recital, but this is one of the greatest pieces to do so because it is so psychological, so powerful, so universally moving.”
Unlike opera, there are no sets in a recital, no costumes or lighting cues to lean on. “The singer with no sets or costumes is left to create a kind of one-man show,” Porter said. His solution is internal. “The way that I process learning something like this and having the responsibility to hold an audience without set or costumes or lights or props is to stage it in my mind. Each song has an identity.”
Schubert’s writing, Porter insists, needs no adornment. “Schubert does an amazing job at setting the scene, and for me, you don’t need anything else. I feel like anything added to it would be almost subtracting. I’d rather just see the singer and the pianist the way that Schubert intended it to be.”
At the center of “Winterreise” is the wanderer, an unnamed figure moving through snow and memory after a failed love affair. For Porter, the character is both specific and universal. “There’s so much ambiguity in the piece,” he said. “We don’t know all of the answers in the first song. We don’t really know who this person is. There are tidbits of information dropped throughout each song. And I think the tendency is to put a narrative on that and to try to connect the dots rather than embracing what it is. The ambiguity is actually where the beauty is.”
That ambiguity extends to the cycle’s ending and the encounter with the eerie hurdy-gurdy player in “Der Leiermann.” Does the protagonist die? “I think one could make that argument,” Porter said. But he resists a neat conclusion. “Death is right in front of him. Death is actually the most peaceful answer to his problem and it’s not given to him. There’s something more, a deeper level.”
Rather than a literal death scene, Porter sees a reckoning. “For me, he’s not granted the easy way out. He has to sort of come to terms with being nothing and having no real skill as a songster or a poet or a wanderer.” The winter landscape, he suggests, mirrors the psyche: “The winter is sort of the mirror of his heart.”
In shaping the emotional arc across all 24 songs, Porter leans into uncertainty rather than resolution. “What I relate to in this piece is that in life, you don’t know what’s going to happen. And you don’t know the next day. Even in tragedy—especially in tragedy—there’s so much question.”
Porter performed Gounod’s “Faust” at BOF in 2024 with Garman conducting but this will be the first time the two will be collaborating with Garman at his instrument. “I love making music with Brian,” said Porter. “I’m a huge fan of his musicianship. I think we’re sort of bitten by the same bug that Schubert is, and so I was super honored that he asked me to do this with him.”
For tickets, visit berkshireoperafestival.org

Want more of our stories on Google? Click here to make us a Preferred Source.
Sally Haver
Christine Gevert, artistic director, brings together international and local musicians for a season of rare works.
Crescendo, the Lakeville-based nonprofit specializing in early and rarely performed classical music, will close its 22nd season with a slate of spring concerts featuring international performers, local musicians and works by pioneering composers from the Baroque era to the 20th century.
Christine Gevert, the organization’s artistic director, has gathered international vocal and instrumental talent, blending it with local voices to provide Berkshire audiences with rare musical treats.
“The biggest event of this part of our season is our April 25 and 26 concerts, with the US premiere of ‘A Jewish Cantata’ and the iconic ‘Misa a Buenos Aires,’” said Gevert. “The composer, an internationally renowned musician, will come and share the podium with me.”
Among the other season highlights are concerts showcasing the works of two trailblazing female musical innovators, Francesca Caccini, the early Baroque composer, poet and singer; and Wanda Landowska, the 20th-century virtuoso who single-handedly brought the harpsichord back from obscurity. Also not to be missed is the May 30 concert, Bach’s Motets in Concert, featuring all six of Johann Sebastian Bach’s surviving motets, sung by four eight-part double choruses and accompanied by period instruments, widely considered the pinnacle of Baroque choral music.
For a schedule of concerts and tickets, visit crescendomusic.org
Jennifer Almquist
Aldo Leopold in 1942, seated at his desk examining a gray partridge specimen.
In his 1949 seminal work, “A Sand County Almanac,” Aldo Leopold, regarded by many conservationists as the father of wildlife ecology and modern conservation, wrote, “There are some who can live without wild things and some who cannot.” Leopold was a forester, philosopher, conservationist, educator, writer and outdoor enthusiast.
Originally published by Oxford University Press, “A Sand County Almanac” has sold 2 million copies and been translated into 15 languages. On Sunday, March 8, from 3 to 5 p.m. in the Great Hall of the Norfolk Library, the public is invited to a community reading of selections from the book followed by a moderated discussion with Steve Dunsky, director of “Green Fire,” an Emmy Award-winning documentary film exploring the origins of Leopold’s “land ethic.” Similar reading events take place each year across the country during “Leopold Week” in early March. Planning for this Litchfield County reading began when the Norfolk Library received a grant from the Aldo Leopold Foundation, which provided copies of “A Sand County Almanac” to distribute during the event.
Aldo Leopold, born in 1887 in Iowa, was educated at Yale University, where he studied in the newly formed forestry school, graduating in the class of 1909. His then-radical concept of a “land ethic” states that land as a whole — soils, water, plants, animals and humans — should be understood as one community. Leopold explained, “A thing is right when it tends to preserve the integrity, stability and beauty of the biotic community. It is wrong when it tends otherwise.”
For a small town of roughly 2,000 people, Norfolk has an abundance of conservation land, including the 6,000-acre Great Mountain Forest and Aton Forest, a 1,300-acre research forest. It is a community where many share a sense of responsibility to live sustainably on the land. Sharing Leopold’s essays at the Norfolk Library honors his legacy.
Lakeville Journal
Isle of Klezbos brings its high-energy, all-women klezmer to the Stissing Center in Pine Plains on Saturday, March 7. Touring internationally since 1998, the ensemble blends neo-folkloric originals and reimagined Yiddish classics in a style dubbed “cutting-edge klezmer” by New York Magazine.

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

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