Work zone safety a concern for town, state road crews

Road crew safety has been a cause for concern with 71 car strikes on crews in Connecticut so far in 2024.
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Road crew safety has been a cause for concern with 71 car strikes on crews in Connecticut so far in 2024.
“When a worker is killed by an impaired driver at 9 o’clock in the morning while picking up litter tossed out car windows, we have a much greater crisis on our hands.” — Garrett Eucalitto, state Department of Transportation (DOT) commissioner
SHARON — An agitated driver recently ignored commands from a member of the town’s highway department to stop during a roadway construction project. Instead, the motorist maneuvered around the work zone.
“He got angry and drove off the road and popped two tires,” said Casey Flanagan, Sharon’s First Selectman. “I have heard stories that people are speeding through our work zones, or they get impatient or agitated because they need to stop,” he said.
Just recently, Flanagan noted, a worker on the road crew reported that “somebody stuck their middle finger up at the guys” as they drove through the work zone. “It’s really unfair. They are just doing their job and they want to keep the traffic moving.”
With road construction and paving projects in full swing and following the recent deaths of three workers on Connecticut roadways in the past two months, state and local officials are pleading with drivers to slow down and pay attention when approaching work zones. Poor driving habits like speeding, inattentiveness and operating a motor vehicle while impaired are not only dangerous, they noted, but they can have deadly consequences to both the worker and the driver.
On Wednesday, July 3, there was a close call on Route 8 in Litchfield when a motorist in the northbound lane veered off the road and crashed into an unmanned state Department of Transportation (DOT) vehicle as workers were out mowing. The driver sustained minor injuries and was issued an infraction for failure to maintain proper lane, according to Connecticut State Police.
The accident occurred less than 24 hours after Gov. Ned Lamont and state DOT Commissioner Garrett Eucalitto gave a press conference on work zone safety, and one week after a state DOT worker was fatally struck by a suspected impaired driver while picking up litter along an on ramp in Wallingford.
According to state public safety officials, there were 14 strikes on work zone crews by vehicles during June, and 71 strikes on crews to date this year as of July 2. In 2023, DOT reported 141 crashes into work trucks, despite enhanced signage and warnings.
From 2020 to 2022, there were more than 2,500 crashes and 10 fatalities in work zones, according to state officials.
“This crisis needs everyone’s attention,” Eucalitto said. “When a worker is killed by an impaired driver at 9 o’clock in the morning while picking up litter tossed out car windows, we have a much greater crisis on our hands.”
To combat speeding through work zones, from April to December 2023, DOT ran a Work Zone Speed Camera pilot program. During that period, 541,920 vehicles were found speeding in work zones, according to DOT spokesperson Samaia Hernandez. Written warnings were issued by mail to 24,875 drivers, and citations for repeat violations were issued to 724 drivers.
The program, said Lamont during the press conference, will become permanent at work zones around the state. “We will see how fast you are going into that work site and see what you are doing on the way out. We will take a picture of your license plate and you will be held accountable.”
Speed on rural roads a major concern
Work zone dangers are not lost on town highway crews in the rural Northwest Corner.
Speed is their biggest concern, followed by distracted driving and aggressive behavior, according to highway department workers.
“We definitely see a lot of speeding,” and drivers on their cell phones, reported Russell Hoage crew chief for the Salisbury Highway Department. “They just don’t slow down.” Most roads have a 30 to 35 posted speed limit, he said, and it’s not unusual to see drivers whizzing by work zones at 40 to 45 miles per hour.
To help buffer road crews from oncoming traffic, the town highway department often uses dump trucks as protective crash barriers, the road crew chief noted.
Hoage said he is at a loss as to why some drivers fail to see the danger they are posing to themselves and to highway personnel. “I don’t know if people are just not aware of the danger, of if they just don’t care.”
Road foreman Rick Osborne, who has been with the Kent Highway Department for 27 years, said electric cars often catch road crews by surprise. “You can’t hear them coming, so they quickly sneak right up on you. And depending on the equipment being operated, it’s sometimes hard to hear oncoming traffic.”
He also noted that the suspensions on newer cars could be making higher speeds less noticeable to drivers.
Osborne said the department has enhanced its safety measures, including posting warning signs and reflective cones as far out as possible, especially where there are curves in the roads leading to work zones.
“If the cleaning crew is out, we park a truck between them and the approaching traffic, and never work behind the truck” to avoid a worker from being pinned between the vehicles, the Kent road foreman explained.
Then there are the drivers who are just plain rude. “Just the other day one of our guys waved to a driver to slow down,” Osborne recalled. “The driver stopped and said, ‘You can’t tell me to slow down or not to slow down!’”
‘Always expect the unexpected’
At the North Canaan Public Works Department, Stanley Morby said he’s seen drivers go to great lengths to get through a construction zone. “We recently had North Elm closed, and had drivers go right by the barriers, thinking there may only be a tree down or something, and they had to turn around and go back.”
His words of advice to drivers are to “slow down and pay attention to your surroundings, no different than if you see a couple of kids walking down the side of the road. Always expect the unexpected.”
Sharon’s first selectman said the heightened dangers facing road crews will spur future conversations about what the town can do to enhance worker safety.
“It’s unsafe for motorists as well,” Flanagan noted. “Sometimes there’s tree work being done, with limbs falling from a 50-foot height and somebody will run through the stop sign from the guys directing traffic. Someone can get really seriously hurt. We need patience from people.”
Flanagan suggested that drivers allow a little extra time if they are heading to work or to an appointment and expect to be traveling through a work zone. “Unfortunately,” he noted, “a lot of the work we do is between working hours when people are commuting.”
Lamont had this message for drivers: “We have thousands of people working along the sides of roads right now. I need folks to look out for each other. I need you to say to somebody who is driving a car that shouldn’t be driving a car to pull over. I need you to say if somebody is busy texting and not paying attention, stop it. We’re doing everything we can as a state to take the lead on this, but the rest really is up to you.”
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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.

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Dee Salomon
Fireweed attracts the fabulous hummingbird sphinx moth.
You must figure that, as rough as the cold weather has been for us, it’s worse for wildlife. Here, by the banks of the Housatonic, flocks of dark-eyed juncos, song sparrows, tufted titmice and black-capped chickadees have taken up residence in the boxwood — presumably because of its proximity to the breakfast bar. I no longer have a bird feeder after bears destroyed two versions and simply throw chili-flavored birdseed onto the snow twice a day. The tiny creatures from the boxwood are joined by blue jays, cardinals and a solitary flicker.
These birds will soon enough be nesting, and their babies will require a nonstop diet of caterpillars. This source of soft-bodied protein makes up more than 90 percent of native bird chicks’ diets, with each clutch consuming between 6,000 and 9,000 caterpillars before they fledge. That means we need a lot of caterpillars if we want our bird population to survive.
So how do we ensure that there are sufficient caterpillars for them? That is the question, as caterpillars are very particular. Their butterfly or moth mothers cleverly attach their eggs to the very specific plants their tiny babies require. Once they hatch, the caterpillars eat the leaves of these plants until they are either picked off by birds to feed their young or create a chrysalis and turn into a moth or butterfly to repeat the cycle of life.
Some caterpillars are generalists and can survive on a variety of plants, but most — 90 percent, according to scientists — are specialists, relying on only one or two types of plants for survival. In their winged form, dietary restrictions ease as they source pollen more widely, but when it comes time to lay eggs, they use a keen sense of smell to find the specific plants that will help their young survive.
Research by Doug Tallamy shows that 90 percent of butterfly and moth species rely on just 14 percent of native plant species for food, which makes the planting of these “keystone” plants critical. Let’s review a few.
Goldenrod: Not all goldenrod is created equal. Old field goldenrod, (Solidago nemoralis), is a shorter and less aggressive alternative to the tall, aggressive goldenrod we are familiar with, as is wrinkleleaf goldenrod, (Solidago rugosa), a compact species that has arching sprays of bright yellow flowers supporting more than 100 species of insects. This species is deer-resistant with no serious pests or diseases. Last year, Mt. Cuba Center, a conservation center out of Delaware, focused its trials on goldenrod, and its research report, available online, is sortable not just by aesthetic attributes but also by the number of insects seen on each species.
Scarlet strawberry: (Fragaria virginiana), is one of the plants I have had great luck growing in the woodland. When there is a new sunny spot, which happens when a tree or large branch falls, I plant a few strawberries, which I dig out of a spot where they are thriving. These plants make a great groundcover and are especially nice used under trees for caterpillar “soft landings.”
Spotted Joe-Pye weed: We see this plant, (Eutrochium maculatum), on roadsides in late summer, but it looks as sharp as an ornamental in the hands of Michael Trapp, who, in the garden behind his shop in West Cornwall, encloses a bed of Joe-Pye weed with a short boxwood hedge, dignifying this plant that supports between 35 to 40 caterpillar species, including those that become the three-lined flower moth, Clymene moth, ruby tiger moth, Eupatorium borer moth and great spangled fritillary moth.
I am less familiar with fireweed, (Chamaenerion angustifolium), but will be adding it this year, as it may be the prettiest of the keystone plants in our region and attracts the fabulous hummingbird sphinx moth. I will let you know when I find a local nursery that stocks it and, when planted, how it fares here.
Also keep in mind this spring: smooth aster, (Symphyotrichum laeve); white yarrow, (Achillea millefolium); and the beautiful Canadian columbine, (Aquilegia canadensis), which is the first food for hummingbirds’ arrival in the Northwest Corner.
Dee Salomon ‘ungardens’ in Litchfield County.
Robin Roraback
Stephanie Haboush Plunkett
"The field of illustration is very close to my heart"
— Stephanie Plunkett
For more than three decades, Stephanie Haboush Plunkett has worked to elevate illustration as a serious art form. As chief curator and Rockwell Center director at the Norman Rockwell Museum in Stockbridge, Massachusetts, she has helped bring national and international attention to an art form long dismissed as merely commercial.
Her commitment to illustration is deeply personal. Plunkett grew up watching her father, Joseph Haboush, an illustrator and graphic designer, work late into the night in his home studio creating art and hand-lettered logos for package designs, toys and licensed-character products for the Walt Disney Co. and other clients.
“The field of illustration is very close to my heart,” she said. Inspired by that example, she studied illustration at Pratt Institute and began her career as an illustrator before shifting toward museum work. An internship at the Brooklyn Museum proved pivotal. “It was inspiring to see the children come alive in front of art,” she recalled.
In addition to her curatorial work, Plunkett is the author of two children’s books, “Kongi and Potgi: A Cinderella Story from China” and “Sir Whong and the Golden Pig,” and has written or co-authored numerous books on illustration, including “Drawing Lessons from the Famous Artists School” and “Leo Lionni: Storyteller, Illustrator, Designer.” She earned an MFA from the School of Visual Arts and built a museum career that included positions at the Brooklyn Museum, the Brooklyn Children’s Museum and the Heckscher Museum of Art before joining the Norman Rockwell Museum, where she has worked for 31 years.
But elevating illustration has meant challenging decades of critical skepticism.
“The goal has been to shine a light on this important American art form and to elevate public awareness of its artistic and cultural importance,”Plunkett said.
As a popular and widely circulated art, illustration is sometimes thought of as inferior to fine art, such as painting and sculpture. Plunkett considered why. She theorized that the 1913 New York Armory Show, the International Exhibition of Modern Art, with works by artists such as Picasso, Matisse and Duchamp, initially contributed to this evaluation. In the 1930s and ’40s, abstract expressionism became the art of the nation, and the rift widened further.
“Norman Rockwell became the antihero for many art critics of the time,” said Plunkett. “Illustration was viewed as too commercial and sentimental because of its emphasis on visual storytelling.”
Plunkett calls illustration “art with a job to do.” She explained, “Illustrators are adept at solving visual problems for their clients while expressing their own aesthetic and artistic vision.”

She noted that the line between the fine and applied arts “is much more porous now, with many artists working across platforms and styles.” She cited late-20th-century illustrators like Marshall Arisman, Barbara Nessim, Robert Cunningham, Bernie Fuchs and Mark English as illustrators who forged unique approaches to working and seeing.
Plunkett commented that people want to see the original illustrations. “Generally, Rockwell exhibitions bring high attendance. Currently, our traveling exhibition, ‘Norman Rockwell: From Camera to Canvas,’ is at the New Britain Museum of American Art, but we’ve traveled Rockwell and illustration to 45 states and several countries, including Japan, France, Italy and Germany.”
Nowadays, illustrators take on subjects that are important to them. “The children’s book industry is committed to sharing the richness and diversity of people and cultures with young readers.” Plunkett cited the late illustrator Jerry Pinkney’s commitment to this goal. As a boy, Pinkney found no books portraying children like him, and “his life’s mission as an artist was to present inspiring, positive images of children of color.”
The Norman Rockwell Museum and Rockwell Center seeds were sown when “Rockwell placed the first 199 artworks in the care and collection of the Norman Rockwell Museum upon its founding in 1969, some of which he personally acquired for the fledgling collection,” said Plunkett. “The museum’s current Rockwell holdings include 865 original artworks, the artist’s Stockbridge studio and an archive of 400,000 photographs, letters, props and first uses of the artist’s work. We also hold about 25,000 illustrations by other artists, from the historical to the contemporary.”
“We call ourselves the home for American illustration. We have a real commitment to illustrators and what they’ve accomplished,” said Plunkett.
The Norman Rockwell Museum is located at 9 Glendale Road, Stockbridge. For more information and to purchase tickets, visit
nrm.org

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Brian Gersten
Craig Davis, co-founder and board chair of East Mountain House, an end-of-life care facility in Lakeville, will sponsor a March 5 screening of the documentary “Come See Me in the Good Light” at The Moviehouse in Millerton, followed by a discussion with attendees.
The film, which is nominated for best documentary at this year’s Academy Awards, follows the poet Andrea Gibson and their partner Megan Falley as they are suddenly and unimaginably forced to navigate a terminal illness. The free screening invites audiences to gather not just for a film but for reflection on mortality, healing, connection and the ways communities support one another through difficult life transitions.
East Mountain House grew out of a realization that “there are so many issues with how we are taking care of our dying in our community,” said David. “We wanted to provide a solution for some people where they can die in a serene and calming home-like setting.” This compassionate approach at East Mountain House is carried out with the support of seven staff members and 42 volunteers who do everything from reading to residents, gardening, cooking, communicating with family members and assisting with therapeutic treatments. East Mountain House houses just two residents at a time, and staff and volunteers work around the clock to accommodate their needs.
In a culture where we are trained to panic when a loved one is dying, and where a clinical space like a hospital is the norm for many individuals at the end of their lives, Davis feels that East Mountain House is an alternative with a natural and organic approach to death. It’s a place where death can be celebrated and viewed as something that is simply a part of life. Davis’ vision for East Mountain House is more than a decade in the making, and he is eager to introduce his work and his perspective to locals at the upcoming community screening.
One of the reasons Davis was interested in sponsoring a screening of “Come See Me In The Good Light” was because the film gracefully explores themes of vulnerability, resilience and the search for meaning in the face of death. Through its deeply personal storytelling, the film highlights how people navigate loss, transformation and the desire to be seen for who they truly are. The documentary’s emphasis on compassion and human connection aligns closely with the mission of East Mountain House, making the post-film discussion a natural extension of the evening.
Davis hopes the event will serve as both a cultural offering and a community touchstone — an opportunity for neighbors to gather in a welcoming space, share ideas and reflect on the importance of end-of-life support systems. The screening is free and open to the public, though advance registration is recommended due to limited seating.
For registration, go to themoviehouse.net.
Kerri-Lee Mayland
A tray can help group items in a way that looks and feels thoughtful and intentional.
Winter is a season that invites us to notice our surroundings more closely and crave small, comforting changes rather than big projects.
That’s often when clients ask what they can do to make their homes feel finished or fresh again — without redecorating, renovating or shopping endlessly. My answer: start with one tray.
A tray creates a moment. It gives the eye a place to land and turns everyday objects into something intentional. More importantly, it’s approachable. There’s no measuring, no commitment, no pressure to get it “right.” It’s a small, easy project — affordable, functional and even a little fun — that can be tailored entirely to you.
One of the things I love most about styling trays is that your cozy “moment” becomes mobile. Everything you love is gathered in one place and can be easily moved from room to room as your day unfolds. A tray that starts on an entry table can later migrate to a coffee table or kitchen counter, adapting to how you’re actually living in your home.
In one client’s entryway, we styled a tray that sets the tone the moment you walk in. A simple pair of brass candlesticks adds warmth, a blue-and-white chinoiserie vase brings character, and two vintage books ground the arrangement. It’s not decorative for decoration’s sake — it feels collected, welcoming and personal, all while keeping the surface from becoming cluttered.
In another home, a coffee table tray became the quiet anchor of the living room. We included a strand of wooden beads for texture, the TV remote tucked neatly into a small vintage box, and a plant nestled in a pottery bowl. The tray keeps everyday necessities close at hand while making the space feel relaxed and lived-in rather than chaotic.

Kitchens may be where trays work hardest, especially in winter when we’re cooking inside more and gathering more casually. For one client, we styled a tray with a pepper mill; a shallow bowl for garlic, shallots and onions; and a white Italian ceramic container filled with olive oil. It’s practical and beautiful, and it makes cooking feel intentional instead of rushed. The tray warms up the counter while keeping essentials within reach.
Another version I often create is the cocktail, mocktail or tea-and-coffee tray — endlessly useful for friends popping over to say hello. A few cups, a teapot or carafe, honey or sugar, and a candle create an inviting setup that’s ready at a moment’s notice. It says, “Stay a while,” without any fuss.
What makes trays so effective this time of year is that they respond to winter’s quieter rhythm. Winter decorating isn’t about bold color or dramatic statements — it’s about texture, warmth and restraint: wood, stone, ceramic, linen, candlelight. A tray helps you edit rather than add, grouping items so they feel thoughtful instead of scattered.
When the seasons shift, the same tray evolves with you. Heavier elements can be swapped for lighter ones — fresh flowers, glass, pale ceramics — without starting over. One tray, styled seasonally, becomes a constant that gently changes rather than something that has to be replaced.
Remember, good design doesn’t have to come from big gestures. Often it comes from small moments done well — a surface that feels intentional, a corner that feels cared for. In winter’s stillness, creating a simple tray may be just enough to make your home feel calm, personal and complete.
Patrick L. Sullivan
Here is a sample from a recently purchased assortment of specks. From left: Black speck, Parachute Adams dry fly speck, greenish sparkly speck.
I need to get my glasses checked
My fingers fumbling like heck
I have become a nervous wreck
Must be the season of the speck…
(With copious apologies to Donovan).
I’m still on the injured reserve list following replacement right hip surgery. Right now the plan is to come off the IR June 1, but I’m going to ask if we can’t shave something off that.
And yes, the rehab is going very well, thank you for asking.
What this means in practical terms is I am scheming and plotting like nobody’s business about all the fishly things I am going to do once Ye Doctor blows the all-clear.
I have glaring weaknesses in my angling game. I stink at roll casting. I’m hopeless with 12-foot leaders.
And I am really lousy at fishing with the kind of tiny little flies I refer to as “specks.”
I define a speck as anything smaller than size 20. Speck experts will disagree, as they think a size 20 is huge. Maybe I will think so too some day.
One of the perils of sitting around after surgery is scrolling through social media and buying things. For preference, things I don’t need.
I got some weird t-shirts. One sports the logo of the Shenandoah (Pa.) Hungarian Rioters, a 19th century minor league baseball team. Another reads “Surely Not Everyone Was Kung Fu Fighting.”
Among these idiotic acquisitions was an offer of 72 specks for about $50. This was a rock-bottom price, and it wasn’t coming from a fly-by-night outfit either, but from an online company, The Catch and the Hatch, who provided me with some very good perdigon nymphs a few years back.
So the specks arrived, and they are everything I feared.
Tiny. Hard to see. Did I say tiny? Infinitesimal. You know.
SPECKS!
Here’s why an angler needs to know how to use specks. In between the nice hatches of large, easily identifiable bugs, which is most of the time, trout eat little bugs.
If it’s a cloudy day, chances are there will be blue-wing olives on the water. Then there is a category called midges which contains multitudes.
I look at the river for five minutes, see nothing happening bug-wise, and I start trying to provoke a reaction somehow.
What I am missing is the trout happily eating specks beneath the surface.
So how am I going to do this?
What little speck success I’ve had has been with a dry-dropper rig. I use a big Stimulator or Chubby Chernobyl, a large, very visible, very buoyant dry fly, and tie a piece of fluorocarbon tippet to the bend of the dry fly’s hook with an improved clinch knot and attach the speck to that. A bass or panfish popper works as the dry fly too.
Here’s the problem. The speck hook eyes require a very fine tippet material — 6x, 7x, even 8x.
I dislike fine tippets even more than specks. The stuff is devilish. It curls up. It refuses to knot. It’s just awful to work with.
Some years back I discovered one brand of fluoro tippet with a 5x tippet that was somehow able to get through the eye of a size 22 hook. That made a difference.
But this moderately successful method is very one-dimensional. I need to be able to construct a leader with a dropper or two and get my specks down in the water column.
That’s going to mean 6x or worse, probably. I might have to add some weight, another thing I dislike and am not good at.
But that is the plan. I hope to report great things as I master the speck this season.
Or until my left hip goes out.

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