Tart, Citrus and Sunny, Marmalade Is a Reason To Get Out of Bed in Winter

Photo by Cynthia Hochswender

There’s an apocryphal story about marmalade that says the sugary citrus jam got its name from Mary, Queen of Scots (the famous Mary from the 1500s, who was a cousin to Queen Elizabeth). Supposedly, the future queen was ill and her grandmother’s cook, who had a large supply of citrus fruit on hand, was trying to find something to tempt her to eat.
“Marie est malade,” he kept muttering in French (Mary is ill) as he tried out confections, ending up with the one that became known as “marmalade.”
The name actually comes from the Portuguese word for quince, which was originally the fruit used to make marmalade.
Over the centuries, what we have come to know as marmalade is usually made from citrus fruit, particularly oranges.
There is no realistic way to make it seem like marmalade is healthy, other than that it’s made from the peels and juice of citrus fruit (which are healthy, especially now, in the middle of winter). But like all fruit preserves, marmalade is made with a lot of sugar.
So, healthwise it’s hard to recommend marmalade. But in the COVID-19 quarantine world, if we all began baking bread last spring, then why not continue to entertain ourselves in quarantine by learning to make fruit preserves, which go so nicely with bread? And since it’s winter, the fruit in greatest abundance is citrus.
Worth the effort
Making marmalade is a lot of work, perhaps more than the average fruit preserve; but the color and flavor can definitely brighten up a gray winter morning and give you a reason to get out of bed.
For Christmas, my friend in Seattle gave me a copy of a book by a local chef (Yossy Arefi) called “Sweeter off the Vine.” It’s divided by seasons and many of the winter recipes involve citrus; and for some reason the marmalade recipe really reached out to me.
I made a batch. I wouldn’t do it every week, but it’s delicious and I recommend it if you have several hours to devote to lavishing attention on a few pounds of citrus.
The recipe calls for blood oranges and Meyer lemons, which I found at a Trader Joe store last week. You can use any citrus, even clementines or grapefruit. The blood oranges of course add spectacular color; and the Meyer lemons (which you can often find at Stop & Shop in North Canaan at a reasonable price) have a much softer, thinner skin that’s easier to work with. Whichever fruit you use, the thinner the skin and the plumper the fruit, the easier and more delicious your marmalade will be.
Not sugar-free
This recipe calls for 2 pounds or about nine blood oranges; 1 pound or about four Meyer lemons; one regular lemon; and 5 cups of sugar (yes, it’s a lot).
You’ll note that you don’t need to use pectin in this recipe, but you will want to get citrus fruit that has seeds in it (the pectin is in the seeds).
This will make lot of jam, so you’ll want to use canning jars with fresh sealing lids to preserve it. I use the 4-pint Ball jar known as the 125. I filled about six of them, and had about 2 cups of jam left to put in a regular jar that I did not “preserve.”
Before you get going on the fruit, either clean the jars in your dishwasher so they’re hot and sterile or boil them for 10 minutes.
You’ll need a very large, clean pot for boiling the jars after they’ve been filled; a clean funnel; some paper towels; and if possible a pair of canning tongs to lift the jars.
The tedious preparation of the fruit
Scrub your fruit and then use a juicer to get all the juice and most of the membrane out of the fruit.
Toss out the membrane but keep all the seeds.
Save the juice, of course.
After juicing, you should have a couple dozen half rounds of citrus. I cut each half round into three pieces and then used a sharp knife to carefully slice away the bitter white pith on the inside of the peel.
It’s tedious but necessary; do it while you listen to a podcast or watch a movie. The less bitter, spongy pith on your peel, the better your marmalade will taste.
The next step is equally tedious: You need to take your scraped peels and slice them as thin as possible, as thin as blades of grass or hay. Don’t worry about the length; long strands are actually kind of pretty.
Boil the rinds
If you have an InstantPot, now is the time to get it out: You need to boil the peel strips in 2 quarts of water (8 cups) until they’re tender and almost translucent — which can take up to an hour if you do it on your stovetop.
If you have an InstantPot, combine the water and peels and cook them on high pressure for 10 minutes, then quick release the pressure. If you don’t, use a large nonreactive pot and boil them lightly until they’re ready. You’ll need about 3/4 cup of the cooking liquid, so keep an eye on the pot and make sure you don’t boil away all the liquid. That’s one advantage of the InstantPot: Your liquid won’t boil away.
When they’re tender and almost translucent, rinse the peels in cool water to stop them from cooking any more.
At this point your jars should be clean and hot and ready to take out of the dishwasher; put them on a cookie sheet and put them in a 200 degree oven, so they’re warm when the jam is ready: If you put hot jam in a cool jar, the glass will crack.
The next two steps have to be done on the stovetop. First, take your giant pot and fill it with enough that your jars will be submerged. Start it boiling so it’s ready for canning as soon as the marmalade is done cooking. Once it’s boiling, reduce it to a simmer.
In a large pot that has a ceramic or other nonreactive surface, combine the citrus peels, the citrus juice (from way back in step one), the sugar, the citrus seeds (tie them up tightly in cheesecloth) and 3/4 cup of the cooking liquid.
Bring it all to a rolling boil (very big bubbles but not foaming) and keep cooking for about 30 minutes. At this moment, it’s great to have a cooking thermometer, to check when it reaches 220 degrees.
If you don’t have a thermometer, put some spoons in your freezer and then test a spoonful of marmalade at a time by putting it in the freezer for a few minutes to see if it gels up. I don’t personally find this method works very well but …
In which we say ‘carefully’ again and again
Once your marmalade is done, turn off the stove and take your tray of canning jars out of the oven.
Carefully spoon the jam into the jars, leaving a quarter inch of air at the top. Wipe the top and sides of the jars carefully with a wet paper towel; if there’s jam overflow, your jars won’t seal.
Carefully place your jars in the simmering water in your big pot. You don’t want them to tip because you don’t want any jam to spill on your jar, which could keep the jar from sealing.
In a perfect world, you should have a trivet at the bottom of your big canning pot so your jars don’t touch the pot surface, which can cause them to break. This sounds much fussier and harder than it actually is; I didn’t use a trivet and I did tip my jars over as I was putting them in the pot, and it was fine — but it’s possible that I just got lucky.
Return the heat to high so your water is boiling vigorously again, then boil your filled jars for 10 minutes.
Remove them carefully and set them down in a spot that’s relatively not sunny and relatively cool, which at this time of year is pretty much anyplace in my kitchen. Don’t move the jars for 12 hours, so you don’t ‘“break” the set of the marmalade or the seal on the jars.
If at the end of that time the lids aren’t sealed, clean the lids and jars again and boil them again for another 10 minutes. If your marmalade didn’t set, I suppose you could pour it all back in a clean pot and boil it down some more.
I always feel like preserving jars of food is very intimidating and time consuming, but it really is very easy. You just boil your jars for 10 minutes. Done. But it does help if you prepare your jars correctly and have the right tools. If you want to learn more about canning, go to the National Center for Home Food Preservation website at https://nchfp.uga.edu.
The Jan. 7 print edition of The Lakeville Journal and Millerton News had a recipe error. It said the marmalade should be kept at a rolling boil with "very big bubbles but foaming.” It should have said, “but not foaming."
Millerton News
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Gardeners needed for native plant design business: March 15- December 1st. Must be physically fit and dependable. Call for interview 347-496-5168. Resume and references needed.
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Millerton News

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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
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.

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