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Vermont forester’s book offers hope for healing ecosystems

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Vermont forester’s book offers hope for healing ecosystems


Vermont forester Ethan Tapper’s “How to Love a Forest: The Bittersweet Work of Tending a Changing World” asks crucial questions in hopes of healing ecosystems. 

“There is so much that is wrong and so much worth saving,” he writes in the introduction. “I hope this book will give others the courage to engage in the bittersweet work of tending this changing world, so that others will not have to walk this same path alone.”

Broadleaf Books released the book Sept. 10. Tapper described it as “a reimagining of what forests and other ecosystems are and what it means to care for them.” 

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Tapper grew up in Saxtons River, obtained a bachelor’s degree in forestry from the University of Vermont and worked as the Chittenden County Forester for the Vermont Department of Forests, Parks and Recreation from 2016 to 2024. He recently left the position to focus on being an author and take on some consulting work as a forester. 

An earlier draft of book was deemed too didactic by a publisher. Tapper said he took the words to heart and turned to narrative in a rewrite. 

“In that process, I discovered this tone of how to love a forest, which is just like super tender and really personal,” he said. “It’s not just a dry, scientific book. It’s not a cookbook about how we care for forests.”

For six years, Tapper worked on the project each morning for the first hour he was awake. He said he rarely skipped a day of writing. 

At the beginning, he wasn’t even aspiring to write a book. He said he was “just recognizing” the need to talk about the subjects he raised in his writing. 

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About two years into the process, he found himself working on a book. Much of the material is based on his experience caring for his 175-acre land in Bolton, which he named Bear Island.

“There’s a lot of parallels between this process of writing this book and the work that I’ve done here at Bear Island,” he said. “I’m working on this land which is super degraded, and it’s sort of going to be the work of my life to help it heal.” 

If Tapper approached the land from the bigger goal of healing it, he might never get started. Instead, like the book, he focused on one piece at a time. Little bits begin to add up to something significant for both projects, he said. 

With Bear Island, Tapper said he realized that just leaving the forest “would not be a kindness.”

“It would be an act of negligence and actually, this forest needed radical action in order to be healthy,” he said, adding that tools are available to heal ecosystems. 

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Over the next two months, Tapper has 45 book launch events in the Northeast, including 6 p.m. Saturday, Oct. 5 at the Northshire Bookstore in Manchester. Later, he’ll be traveling to Canada and other parts of the U.S. 

In addition to being a forester and author, Tapper said he’s “leaned into being a digital creator.” He’s found a large audience via YouTube, TikTok and Instagram.

While working for the state, greater community outreach had been a big goal for Tapper. He said he held about 300 public events and penned a monthly column that appeared in local newspapers.

His daily writing habit continues and he expects to eventually have another book on forestry. He’s also pursuing a doctorate at UVM in hopes of being a college teacher. 

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Norman Rockwell finally gets his day in new Shelburne Museum exhibit

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Norman Rockwell finally gets his day in new Shelburne Museum exhibit


SHELBURNE — Norman Rockwell lived for a time in suburban New York City and died and was buried in the Berkshires of Massachusetts. But for 14 years in between, the artist spent perhaps the most prolific period of his career in Vermont creating his best-known works.

That’s how Shelburne Museum curator Carolyn Bauer sees it — and how the museum’s latest exhibition treats the artist.

“Norman Rockwell: At Home in Vermont,” which opens June 20 and runs through Oct. 25, displays 40 of the 175 covers Rockwell famously created for The Saturday Evening Post magazine during his time in Vermont between 1939 and 1953.

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Also on display are prints of “The Four Freedoms,” maybe his most famed works of all, which represent American ideals spelled out by President Franklin D. Roosevelt in 1941. Paintings in the exhibition include “The Young Lady with the Shiner” and “The Tattoo Artist,” both whimsical, recognizable pieces used as covers for The Saturday Evening Post.

“It’s very accessible work and approachable,” Bauer said.

The display features the three paintings that inspired the exhibition, given to the Shelburne Museum by Rock of Ages, the Barre granite quarry and monument maker. Those Rockwell paintings filled a significant gap in the museum’s art collection, which includes works by Claude Monet, Edgar Degas, Grandma Moses and Andrew Wyeth but, until recently, none by Rockwell, perhaps the best-known artist to have lived here.

“It feels like a homecoming in many regards,” Bauer said.

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Moving to southern VT, finding ‘the every American’

The exhibition frames Rockwell’s time in Vermont around the tenor of the times in America. As the Great Depression was ending, World War II was looming and the nation was growing more urban and industrialized, much of the public was yearning for greater simplicity, Bauer said.

Rockwell was among them, leaving New Rochelle north of New York City for the quietude of Arlington in southern Vermont.

He was not alone. Contemporary artists including Mead Schaeffer, John Atherton and Gene Pelham would settle in Arlington too, creating what Bauer termed “the golden illustrator days” in Vermont.

Rockwell’s art, as the 152-page hardcover catalogue accompanying the exhibition notes, shows “how Vermont itself came to embody American ideals in the national imagination.”

Rockwell and his fellow Arlington artists used each other as models in their creations. “They really would work collaboratively,” Bauer said.

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Pelham’s daughter, Melinda, is shown in the exhibition in two works: “The Babysitter,” a painting of a girl holding a crying baby that’s on loan from The Fleming Museum at the University of Vermont and an admission submission Rockwell sent to Kellogg’s of a girl clutching a cereal-laden spoon to her mouth.

Doctors, mail deliverers and shopkeepers from Arlington populated his work. Bauer said Rockwell usually gave models $5 and a can of Coca-Cola.

“He was recycling and using just about everybody in town,” Bauer said. That included himself: Rockwell added his own visage to the multiple faces in “The Gossip,” which shows him lashing out at a woman who’s started the rumor-mongering.

Bauer said Rockwell wanted to cultivate a sense of place by using Vermonters known for their austere self-reliance at the forefront of his work. He also found “the every American” ideal in town, Bauer said, though his art reflected a pronounced lack of diversity.

In later work, Rockwell would confront race and segregation as the Civil Rights Movement swept the U.S.

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“He was progressive,” Bauer said.

Inspired by paintings donated by Rock of Ages

“Norman Rockwell: At Home in Vermont” was inspired by the 2025 museum acquisition of a trio of Rockwell works that once hung in the Barre offices of Rock of Ages. The granite company contacted the museum asking if it could donate the paintings, Bauer said, prompting staffers to wonder momentarily, “Is this real?”

Rockwell created advertisements for Rock of Ages and gave the paintings upon which the ads were based to the company. “Kneeling Girl” from 1955, making its debut at the Shelburne Museum, takes place in front of a gravestone engraved with the name Newton.

Rock of Ages donated two versions of 1963 work “The Craftsman,” a muted draft and a more luminous final version that were first displayed at the museum last year. They depict Rock of Ages stonecutter George Seivwright working in the shadow of a memorial bearing the name “Norwell,” a portmanteau of Rockwell’s first and last names.

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Bauer called the paintings “incredible works of art that were circulated widely” in ads, brochures and pamphlets touting Rock of Ages and its world-famous Vermont granite. Though Rockwell had left Vermont for Massachusetts by the time he created those paintings, they do what Rockwell had done when he lived in Arlington — show the nation and the world what Vermont and Vermonters are capable of.

“We are just eager for our visitors to see these paintings,” Bauer said.

If you go

WHAT: “Norman Rockwell: At Home in Vermont”

WHEN: June 20 through Oct. 25

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WHERE: Pizzagalli Center for Art and Education, Shelburne Museum

INFORMATION: $8-$25 museum admission; free under age 5 and for active military and Shelburne Museum members. shelburnemuseum.org

Contact Brent Hallenbeck at bhallenbeck@burlingtonfreepress.com.



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Possible tornado causes damage in small Vermont town during Thursday’s intense storms – The Boston Globe

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Possible tornado causes damage in small Vermont town during Thursday’s intense storms – The Boston Globe


The National Weather Service is investigating whether a small tornado touched down in Woodstock in eastern Vermont on Thursday afternoon as intense storms swept through the area, uprooting and snapping trees, and causing structural damage.

A damage survey team is expected to assess the damage on Friday morning to confirm whether any tornadoes touched down during the severe thunderstorms, the Weather Service in Burlington, Vt., said.

The suspected tornado occurred some time between 2 p.m. and 3 p.m., according to the NWS. A tight vortex, a marker for rotation, was spotted on radar, although there was no debris signature detected on radar. No tornado warnings were issued at the time.

If a tornado is confirmed to have touched down, the survey team will also determine the size, path, and intensity of the twister.

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Some of the damage left behind by what is believed to have been a tornado that touched down Thursday.Chris Markos

The last tornado to touch down in Vermont was just a couple of months ago. On April 16, 2026, an EF1 touched down in Williamstown, Vt., according to the NWS. An EF1 tornado is the second-lowest rating for twisters, according to the Enhanced Fujita Scale, which ranks them based on intensity.

Several supercells had tracked across northern New York into southern and central Vermont, producing large hail and damaging winds, and eventually spawning the tornado, which the Weather Service said was about a half-mile long and 200 yards wide at its peak. The damage survey team also found ”extensive wind damage between Ainsworth State Park and Jackson Center with estimated winds between 70 and 80 mph,“ which was caused by an accompanying microburst, the NWS said.

Large trees are seen uprooted near Staples Pond in Williamstown, Vt., in April.NWS

More than an hour after the Vermont storm, two tornado warnings were issued for southern Worcester County after a pair of tight vortexes were spotted on radar, indicating a possible tornado.

No structural or other damages were found, but storm spotters have submitted reports of a funnel cloud near the Spencer-Leicester town line.


Ken Mahan can be reached at ken.mahan@globe.com. Follow him on Instagram @kenmahantheweatherman. Marianne Mizera can be reached at marianne.mizera@globe.com. Follow her @MareMizera.





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Vermont law enforcement officers petition for highway dedication in honor of David Chris Maland

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Vermont law enforcement officers petition for highway dedication in honor of David Chris Maland


It’s been nearly a year and a half since border agent David ‘Chris’ Maland was shot and killed during a traffic stop near the interstate in Coventry, Vermont. Now, a group of law enforcement officers are petitioning to dedicate a section of I-91 to him.



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