Connecticut

Writer Caoilinn Hughes on 'The Alternatives'

Published

2 years ago

April 20, 2024

ANDREW LIMBONG, HOST:

Sisters have a way of being there for you, holding you down when you’re going through it or standing up for you when your back’s against the wall. But also, golly, do they have a way of getting on your nerves. Just the decisions they make sometimes force you to really wonder, how are we related? This dynamic is deeply and thoroughly examined in the new novel “The Alternatives” by Irish author Caoilinn Hughes, who joins us now in studio. Hey, Caoilinn. Welcome to ALL THINGS CONSIDERED.

CAOILINN HUGHES: Hi, Andrew. Thank you so much for having me.

LIMBONG: Thanks for being here. So there are four Flattery sisters, right? There’s Nell, the youngest. She’s a philosophy professor in the U.S. There’s Maeve, a cookbook author and a Instagram famous chef, right?

HUGHES: Yes.

LIMBONG: There’s Rhona, a high-powered political science professor at Trinity College in Dublin. But can you tell us about the eldest daughter?

HUGHES: Yes. So Olwen Flattery is a geologist, and she was really my starting point with this novel. So I knew I wanted to write about women at work, and Olwen was the first one that arrived. And she’s a geologist, and I find that work to be really kind of deeply existential and fascinating. And I was writing the book in the west coast of Ireland, where I grew up, with this beautiful, wild landscape where you’ve got these kind of limestone shouldering through the fields and these wind-stripped hills. And that landscape is kind of like her in the fact that it’s wild and dynamic but somehow immovable. So that gave me a sense of Olwen. And also, she had big-sister vibes off the bat.

LIMBONG: She definitely does that, yeah.

HUGHES: Yeah. So I knew that it was going to be a book about women at work and also a novel about sisterhood – and a geologist, political scientist, a philosopher and a chef. And they definitely do walk into a bar.

(LAUGHTER)

LIMBONG: Yeah. You mentioned the big-sister vibes. Their parents died when they were younger. Olwen decides to deal with their grief by bailing, right? She leaves her partner, Jasper, and his two kids. And she sort of quietly ships off to a small town in Northern Ireland. She hides out there. She makes friends with the locals, sort of. And there’s a scene where she’s at the local pub, thinking about the current moment that I was hoping that you could read.

HUGHES: Oh, I’d love to.

(Reading) No radio played in the background. No TV was mounted in the corner. It impressed Olwen a great deal, that sort of commitment to the moment. What with Jasper’s video work and the fidgety sons and the students using apps to rack up telemarketing gigs in five-minute increments, she wasn’t used to such minimalism – the unadorned moment, the absolute basking in it. For all the cultural products having a moment, very few moments were up for grabs. Mindfulness was having a moment, and Nell had to gut her philosophy syllabus in response to present all thought as ahistorical. Localness was having a moment, a preview to the scarcity moment. And Maeve had to rehash her U.K. menu to flaunt its blue-and-red roots. Sustainability was having a moment, and Rhona had to dash off her op-eds explaining why the Green Party wasn’t. It was to do with the localness moment, which meant that Sinn Fein was having the sustainability moment. After so many years of trying to dig into the moment, to put it in context, to know its makeup, Olwen had forgotten how it felt to take it for granted.

LIMBONG: What is Olwen running from?

HUGHES: I think that she’s had a role as a caretaker, you know, and from a very, very young age. She’s had to be – to project hopefulness. And I wanted, in a way, to write about people who are caught up in the existential ropes of the climate crisis and what it is to love someone who does that work. And, you know, I do think that all novels are about love and care. In fact, I wanted to have an epigraph by James Baldwin where he says, love is the only reality, the only terror and the only hope.

And I think that moments – there’s moments of direct caregiving in the novel, you know, obviously, between the sisters, certainly towards Olwen and towards each other, between Rhona and her son, Leo, but also, you know, between one student who is gregarious and another student who doesn’t want to speak between, you know, a passing cyclist and a sheep stuck in the briar. I think paying attention is a form of care. So this is a type of – she wanted almost to relinquish herself of that responsibility – to care – for a moment.

LIMBONG: Outside of the core four, your writing has such an efficiency with side characters. And I’m curious. How much thought are you putting into the lives and backgrounds of these characters?

HUGHES: Yeah. I do think that if you were to take any five-minute segment of your day and think about the people that you bump into or someone that you just walked, brushed by and, you know, had an encounter with in a cafe, those people are so specific. And so I’m always trying to render that specificity when I’m writing. And so it’s not even something that I think about in terms of craft. It sort of happens naturally.

I’ve obviously taught a lot. And thinking about the types of students, you know, the ones that come in in these huge pairs of sunglasses and, you know, who – with a spliff on the table. Like, I taught in the Netherlands for a few years. And – I don’t know – I love thinking about each character with an un-capitalist amount of attention.

LIMBONG: (Laughter) You have sisters, right?

HUGHES: I do, yeah, two brothers and two sisters.

LIMBONG: Have your siblings read the book?

HUGHES: They’re – two of them are reading it as we speak.

(LAUGHTER)

LIMBONG: I was – yeah. Is this what it’s like in the Hughes house? You guys are just duking it out all the time?

HUGHES: Well, we so rarely get together now because we all live in different places. And, in fact, I suppose that’s partly why these sisters do live very distanced lives. At the beginning, it’s Olwen’s disappearance that brings them together, you know, for the first time in years. But it is chaotic. And it’s wonderful. And I do love being part of a big family. I loved being able to kind of disappear within it. And I am aware that this is now something that marks my generation as being maybe the last generation in Europe that has the privilege of having multiple siblings. And so, like, I’m, in a way, chronicling that.

LIMBONG: That was Caoilinn Hughes, author of “The Alternatives.” Caoilinn, thanks so much.

HUGHES: Thank you so much, Andrew. Transcript provided by NPR, Copyright NPR.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

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Connecticut

Connecticut to receive $154 million for rural health

Published

2 hours ago

March 6, 2026

Press Room

Connecticut to receive 4 million for rural health

Beth McDermott
| Norwich Bulletin

Connecticut is set to receive more than $154 million aimed at improving health care in rural communities.

The funding comes from the Centers for Medicare & Medicaid Services’ Rural Health Transformation Program, according to a community announcement.

The Connecticut Department of Social Services will lead the initiative, partnering with other state agencies to implement projects across four core areas: population health outcomes, workforce, data and technology, and care transformation and stability, according to the announcement.

The program will include several innovative projects, such as a mobile clinic pilot with four primary care and four dental vans, a health workforce pipeline through the Area Health Education Center and UConn Health Center, and community health navigators.

“Rural Connecticut has unique challenges, and its residents deserve the same access to high-quality care and support as anyone who lives anywhere else,” Lamont said. “This investment allows us to tackle those challenges head-on – from expanding mental health services and building a stronger health care workforce to modernizing our technology infrastructure and connecting residents to the services they need. This is about making sure every corner of Connecticut has the opportunity to thrive.”

The program was developed through extensive public engagement, including more than 250 written comments, meetings with health care providers, local government officials and community organizations, as well as in-person and virtual listening sessions held across the state, according to the announcement.

Andrea Barton Reeves, commissioner of the state Department of Social Services, highlighted the program’s long-term vision.

“This program reflects our commitment to building systems that work for rural residents over the long term,” she said in the release. “We are excited and grateful to CMS for this opportunity to make sure that our investments are coordinated, impactful, and built to last.”

The program aims to bring health care closer to rural residents while supporting the workforce that provides care, said Dr. Manisha Juthani, commissioner of the state Department of Public Health.

“Every person in rural Connecticut deserves good health care close to home, and the people who provide that care deserve real support too,” Juthani said. “This funding helps us bring care to where people are and build the healthcare workforce our communities need. When we invest in both, we give everyone a better chance at staying healthy.”

Additional information about the Rural Health Transformation Program, including opportunities for public engagement, will be made available as implementation proceeds.

For more information, visit the Connecticut Department of Social Services website at ct.gov/dss.

This story was created with the assistance of Artificial Intelligence (AI). Journalists were involved in every step of the information gathering, review, editing and publishing process. Learn more at cm.usatoday.com/ethical-conduct.

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Connecticut

A Character-Rich Family Home in Connecticut That Bridges Past and Present

Published

14 hours ago

March 5, 2026

Press Room

A Character-Rich Family Home in Connecticut That Bridges Past and Present

When a house has been loved for generations, its walls tend to hold stories. In the case of one family residence in Darien, Connecticut, that sentiment was taken quite literally. On the casement between the living room and kitchen are ticks that denote decades of growth, a quiet record of childhoods unfolding in real time. Several of those measurements belong to the home’s newest steward—the original owners’ daughter—who was ready to put her own mark on the property.

Eager to see what she could make of the 1930s structure, she and her husband tapped British-born designer Becca Casey of Connecticut-based Becca Interiors to breathe new life—and old soul—into the interior. For Casey, being entrusted with that kind of emotional patina was a privilege she didn’t take lightly. “The greatest challenge was ensuring that the new extension had synergy with the original house while bringing together the couple’s different tastes and honoring the home’s history,” Casey says of the 2,400-square-foot space.

There was a strong desire to preserve the home’s character and the memories it holds.

That delicate balance shows up everywhere, from tailored silhouettes and clean lines for him to pattern and color for her. Nowhere is that nuance more evident than in the property’s oldest room, a long, beam-lined living space that once sat largely unused. Casey swathed it in an atmospheric mural, transforming it into a multi-zone haven centered on the fireplace, with moments of repose throughout where the family can gather to play a game or enjoy a book.

Around the home, Casey’s eye for nuance is unmistakable. She wields color, pattern, and shape with equal aplomb, expertly marrying form with function in a way that’s both timeless and fresh. A hidden television disappears behind drapery-lined cabinetry, the inner skeleton of an armchair is displayed like a work of art, a vintage dining table reveals a plaque from the husband’s hometown (a serendipitous discovery that made the piece instantly meaningful). In the end, reviving the dwelling wasn’t about reinvention for Casey—it was about the possibility that a new chapter can bring. The result is a space that, according to Casey, feels “quietly refined and effortlessly lived-in”—an elegant meeting point between memory and modern family life.

FAST FACTS:

Designer: Becca Casey, Becca Interiors

Location: Darien, Connecticut

The Space: A 1930s colonial with six bedrooms, across 2,400 square feet.

LIVING ROOM

Bare windows and a transportive wallpaper nod to the pastoral landscape.

Kate S Jordan

Chandelier: Lostine. Rug: Stanton. Wallpaper: House of Hackney. Coffee table: Jefferson West. Rug: Stanton Carpet.

The living room is the oldest space in the house, so Casey wanted to honor its bones while streamlining the layout for modern functionality. Custom Dmitriy & Co. sofas—linen on the top, patterned French mattress tufting at the base—typify the union between “his” and “her” tastes.

Cozy sitting area with an armchair and footrest next to a window.

Kate S Jordan

Sconce: Woven Shop. Lamp: Visual Comfort & Co. Chair: custom.

Dining area with a round table and wooden chairs.

Kate S Jordan

Table: custom, Becca Interiors. Chairs: Pottery Barn.

A traditional English roll armchair was tucked into a corner at the request of the husband, whose wish list included a spot to read. Aiming for a “layered floor plan,” with distinct areas for the family’s many needs, Casey added a game table as a visual anchor with a direct sight line to the main entryway of the home.

DEN

An original stone fireplace anchors the family-ready space.

Kate S Jordan

Pendant: Woka. Coffee table: LF Collection. Sconce: Hector Finch.

Cozy living room featuring a stone fireplace and vintage decor.

Kate S Jordan

Coffee table: LF Collection. Rug: Woodard Weave. Chik blinds: Joss Graham.

Drenched in French Gray paint by Farrow & Ball and grounded by the original stone fireplace, the den is carefully choreographed to support togetherness, with a custom sectional and hidden TV.

DINING ROOM

The sun-drenched space looks out to the backyard pond.

Kate S Jordan

Paint: School House White, Farrow & Ball. Chairs: Maison Louis Drucker. Table: antique. Tablecloths: Zara Home, Cabana Home. Pedants: Lightology.

Part of the new addition, the serene dining room is flooded with light, thanks to expansive floor to (almost) ceiling windows. Layered textiles keep the antique table—a happy find, originally made in the husband’s hometown—geared toward casual meals.

PRIMARY BEDROOM

Salvaged beams mimic the look of the originals in the living room.

Kate S Jordan

Paint: Shaded White, Farrow & Ball. Rug: Lulu and Georgia. Bedding: The Company Store. Dresser: English Farmhouse Furniture.

Inspired by Belgian interiors, the elevated placement of the fireplace isn’t just a design flex—it’s an experiential choice that puts the flames right at eye level when lounging in bed. Beside it, two vintage English armchairs stun with their exposed interior, a Becca Interiors signature touch.

PRIMARY BATH

Natural materials were chosen for their ability to patina over time.

Kate S Jordan

Mirror: Rejuvenation. Floor tile: Arto. Wall paint: Slipper Statin, Farrow & Ball. Sconces: O’lampia.

In the primary bathroom, wellness comes through atmosphere rather than gadgets. A Drummonds soaking tub is positioned for prime pond views, with a gray-green base (Drop Cloth, Farrow & Ball) that reinforces the room’s soothing palette.

WORKSTATION

Smart features make family management a cinch.

Kate S Jordan

Roman shade: Hunter Douglas. Desk paint: Studio Green, Farrow & Ball. Chair: Soho Home. Rug: Merribrook Collection. Flushmount: RW Guild.

To make the most of a hall nook, Casey crafted a compact desk where the wife, a teacher, can grade papers. Labeled drawers store art supplies, while a floor-to-ceiling cabinet (at side) acts as a hub for deliveries.

About the Designer

Becca Casey is the Principal Director and founder of Becca Interiors. Raised in the countryside of Southwest England, her earliest influences were rooted in history, nature, and the quiet beauty of rural life. These foundations continue to shape her design philosophy today, one that blends heritage with modern sensibility while honoring craftsmanship and the beauty of daily life at home.

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Connecticut

Hartford community grieves men killed in police shootings

Published

1 day ago

March 5, 2026

Press Room

Hartford community grieves men killed in police shootings

The Hartford community is grappling with two police shootings that happened within eight days of each other. Both started off as mental health calls about someone in distress.

People came together to remember one of the men killed at a vigil on Wednesday evening.

With hands joined, a prayer for peace and comfort was spoken for the family of Everard Walker. He was having a mental health crisis when a family member called 211 on Feb.19.

Two mental health professionals from the state-operated Capitol Regional Mental Health Center requested Hartford police come with them to Walker’s apartment on Capitol Avenue.

A scuffle ensued, and police said it looked like Walker was going to stab an officer. The brief fight ended with an officer shooting and killing Walker.

The family is planning to file a wrongful death lawsuit against the city.

“All I will have now is a tombstone and the voicemails he left on my phone that I listen over and over again at night just so I can fall asleep,” Menan Walker, one of Walker’s daughters, said.

City councilman Josh Michtom (WF) is asking whether police could have acted differently.

“To me, the really concerning thing is why the police were there at all, why they went into that apartment in the way that they did, in the numbers that they did,” he said.

The president of Hartford’s police union, James Rutkauski, asked the community to hold their judgment and wait for a full investigation by the Inspector General’s office to be completed.

A different tone was taken in a statement released about another police shooting on Blue Hills Avenue on Feb. 27.

Rutkauski said the union fully supports the officer who fired at 55-year-old Steven Jones, who was holding a knife during a mental health crisis.

In part, the union’s statement says that Jones “deliberately advanced on the officer in a manner that created an immediate threat of death or serious bodily injury. This was a 100% justified use of deadly force.”

The Inspector General’s office will determine if the officer was justified following an investigation.

The officer who shot Jones was the fourth to arrive on the scene. Three others tried to get him to drop the knife, even using a taser, before the shooting.

“It just feels like beyond the conduct of any one officer, we have this problem, which is that we send cops for every problem,” Michtom said. “I don’t know how you can de-escalate at the point of a gun.”

Jones died from his injuries on Tuesday.

The union’s statement went on to say that officers should not be society’s default for mental health professionals. The statement said in part, “We ask for renewed commitment from our legislators to remove police from being the vanguard of what should be a mental health professional response.”

The officers involved in both shootings are on administrative leave.

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