MARK TWAIN Uncut BLISSFULL Wedding Ideas

Transcription

OCT/NOV 2010
BLISSFULL
Wedding Ideas
MARK TWAIN
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Missing Child
Case#: 601576
Id#: c1_1
State: TN
First: Martha
Last: Green
Case Type: Non Family Abduction
Sex: Female
DOB: 2/24/1970
Missing From: White Bluff
Missing Date: 4/15/1987
Race: White
Ht: 506
Wt: 120
Eyes: Brown
Hair: Brown
CONTACT: Dickson County Sheriff’s Office (Tennessee) - 1-615-789-4130
Details: Martha’s photo is shown age-progressed to 40 years. She was last seen at about 9 p.m. in her brother’s vehicle
on Hwy 46 in Dickson, Tenn. Her brother went to get gas and when he returned, the child was missing. She was last
seen wearing a white sweatshirt, faded blue jeans and white tennis shoes.
Case#: 961685
Id#: c1_1
State: TN
First: Tabitha
Last: Tuders
Case Type: Lost Injured Missing
Sex: Female
DOB: 2/15/1990
Missing From: Nashville
Missing Date: 4/29/2003 7:50:00 AM
Race: White
Ht: 501
Wt: 100
Eyes: Blue
Hair: Sandy
CONTACT: Nashville Metro Police Department (Tennessee) 1-615-862-8600
Details: Tabitha’s photo is shown age-progressed to 19 years. She was last seen at approximately 7 a.m. on April 29,
2003 at her home. Tabitha has a birthmark on her stomach, a scar on her finger, and her ears are pierced.
2010
October/November
12
18
conte nt s
Wedding Bliss
THORNCROWN CHAPEL
Walk through the woods to find the
honored architectural innovation of the
Ozarks, ever hallowed by the seasons.
MARRY YOU, MERRY ME
Proposing a wedding with personalized
traditions charms bride, groom, and
guests
32
THE GREATEST GREENS AND A WORLD
CLASS WAY TO THE EIGHTEENTH
Elvis isn’t the only musician motivating pilgrimages
to Memphis. Justin Timberlake’s nearby Mirimichi
golf course adds golfers and ecologists to the
visiting throngs that hail from far and wide.
55
TRUE TO TWAIN
This November, the world will hear anew from
Mark Twain, one hundred years after his graveyard
retirement. Robert Hirst, general editor of the Mark
Twain Papers, deciphers the centennial silence and
explains the process of reviving Twain’s voice for
the new, uncut Autobiography of Mark Twain.
SOUTHERNINSPIREDMAGAZINE.COM �
3
con te nts
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TWENTY YEARS ON THE
GOLD STANDARD
Two decades of expert care
and research innovations bring
global acclaim to Nashville’s
beautiful skin specialist,
Dr. Michael H. Gold.
36
October/November 2010
14
HOW TO THROW A
BOUQUET
“You throw like a girl!” stands
corrected. Coach Steve
Peterson, head of MTSU
baseball, trains a bride’s arm.
41
A GROWING PLACE
48
WITH A LITTLE
HELP FROM YOUR
FRIENDS: WOODBINE
COMMUNITY
ORGANIZATION
Local shop Lizards and Lace is
suiting up children and setting
a good example.
36 24
Following Miss Fannie’s longlived example, the simple
formula of people Helping
people continues to build
improvements for a group of
Nashville Neighbors.
51
SMOCKING: TRADITION
WITH A TRENDY TWIST
Even Mona Lisa looked
fetching in smocking, and the
girls at Children’s Corner are
keeping the finely stitched art
relative.
4
� SOUTHERN INSPIRED MAGAZINE
Publisher’s Letter
Treasures
Tween Talk
Southern Seen
6
24
43
64
PUBLISHER
Peggy Ann Gaines
MANAGING EDITOR
EDITORS
MEDICAL ADVISOR
ART DIRECTOR
GRAPHIC DESIGNER
PHOTOGRAPHER
CONTRIBUTORS
AD REPRESENTATIVES
Claire O. Ploegman
Mae Addison
Ericka Crook
Kevin Rowlett
Kenneth J. Gaines, M.D.
Michael Lang
Sara Bailey
Aimee Hale
Stef Atkinson
Olivia Garrett
Hannah Harris
Jim Hill
Liz Jenkins
Paul Johnson
Claire O. Ploegman
Kevin Rowlett
Ed Smith
Lisa Barry
Howard Wiggins
EDITORIAL INQUIRIES:
[email protected]
ADVERTISING SALES:
[email protected]
PUBLISHER:
[email protected]
Published by Southern Inspired Publishing, LLC,
Southern Inspired Magazine Division,
All contents © 2008-2010. All rights reserved.
Reproduction in whole or part of the contents
without the prior written permission of the
Publisher is prohibited. Southern Inspired
Magazine cannot process unsolicited manuscripts,
art materials or photographs, and the Publisher
assumes no liability for their return and may use
them at its discretion.
Southern Inspired Publishing, LLC
Southern Inspired Magazine Division
P.O. Box 682428
Franklin, TN 37068
P: 615.337.7264
F: 615.595.8280
Email: [email protected]
Website: www.southerninspiredmagazine.com
PUBLISHER’S LETTER
Wedding Bliss
Publishers Letter – Oct/Nov 2010
We can all remember or imagine the joyful and frightful days of planning a
wedding. In our blissful bridal section, Jessica and Jason Edwards share creative
ideas and enchanting twists for this traditional day, and Bethany Nichols Shantz
shows us a little bit of country gentility. For a change of pace, slide into first base
with MTSU Baseball Coach Steve Peterson and our own Malarie Woods at the
“Bouquet Throwing 101” class. We are also pleased to present several of our favorite
bridal vendors for this issue to help local girls take full advantage of the beautiful
styles available right here in Middle Tennessee.
Because growing girls must work for weeks or even months to make presents
or complete chores for a little jingle in their pockets for shopping, our Tween
correspondent, Hannah, talks to her readers about early Christmas shopping.
Hannah shares the time she and her friends enjoyed at Be Dazzled Beads, where
Warren Feld took them through a step-by-step session on how to make an elegant
bracelet.
To celebrate the one-hundredth anniversary of Mark Twain’s passing and the
release of his un-cut autobiography, we reserved pages for an extensive interview
with Robert Hirst, General Editor of the Mark Twain Papers. Gracious, affable, and
informative, Hirst will walk you past the myths to some momentous moments in
the Autobiography of Mark Twain, published by University of California Press. We
have it on good authority this story is untapped by any other media outlet based in
the Mid South—and the pleasure and honor is all ours. After all, Twain’s insight is a
good thing to stock up on before marriage.
Peggy Ann Gaines
Publisher
From my hear to your home,
Peggy Gaines
A special thanks to Robert DeBlasio of Caregivers, Inc. Your work with the elderly and their families is continually
inspirational.
6
is available at thes locations
Belle Meade:
Belle Place Cleaners
Blush
Little Antique Shop, The
Stock Market
Yeoman’s In The Fork
Keller Williams
Floorz
Gallery 202
Winchester Antiques
Brentwood:
Blush
Borders Bookstore
Brentwood Interiors
Gabriel’s Garden
Hair Expressions
Kalamata’s
Mark Bates Landscaping
Northgate Gallery, Inc.
Simply Gourmet
Spruce
Olde World Leaf & Ale
Puffy Muffin, The
Green Hills:
Antique Mall of Green Hills
Bella Linea
Bennett Galleries
Bradford’s Interiors
COLOR
Cumberland Gallery
Curtain Exchange, The
Davis-Kidd Booksellers
Designer Finds
Digs
Grace’s Plaza Wine & Spirits
Kalamata’s
Margi’s Chair & Chair Alike
Marymount Plantation Antiques
Merrell
Nadeau
Nashville Trunk & Bag
Smoothie King
Ten Thousand Villages
Gold Skin Care
Columbia:
Ancestral Home of President James K.
Polk and Polk Presidential Hall
Christy’s 6th Street Restaurant
Sarai Lighting
Square Market & Café
Cool Springs:
Cool Springs YMCA
Ford Custom Classic Homes
Sportsman’s Grille, “The Lodge”
East Nashville:
Altra Salon
Lennox Village Dentistry
Wonders on Woodland
Garage Mahal
Franklin:
Avec Moi
Bagbey House
Carnton Plantation
Character Eyes
Curious Gourmet
Franklin Antique Mall
H·E·Y·D·A·Y
H.R.H. Dumplin’s
J.J. Ashley’s, LLC
Joe Natural’s
Johnson Lock and Key
Little Cottage Children’s Shoppe, The
Lulu
Mayfield Gallery
Neena’s Primitive Antiques & Gifts
Redo
Rooster Tails
Shop Around the Corner, The
Gallatin:
Countryside Antique Mall
Hair & Body Salon and Day Spa
Melanie’s Custom Framing
Larriviere’s
Upscale Boutique
Invitations, Etc
Goodlettsville:
Lizards & Lace
Goodlettsville Antique Mall
Goodlettsville Chamber of Commerce
Marriot Hotel
Hendersonville:
ACE Hardware
Hendersonville YMCA
Patricia Jane & Company
Then & Again
West Main Shell Auto Care
Floorz
Then & Again
La Z Boy Furniture
Caregivers, Inc.
My Secret Chef
Leipers Fork:
Laurel Leaf Gallery
Murfreesboro:
Bungalow
Nashville & Downtown Neighborhoods:
A Village of Flowers
Antiques Unlimited
Belcourt Theatre
Bernice Denton Estate Sales
and Appraisals
Downtown Antique Mall
Estelle’s
Ferguson
Highgrove Antiques
Karmal Skillington
Lost Boys Foundation of Nashville, The
Manor à la Maison
Merridian
Michael Crawford Salon
Midtown Café
Noshville
Nouveau Classics
Pembroke Antiques
Pfunky Griddle, The
Pia’s Antique Gallery
Reno’s For Hair
Solar Insulation, Inc.
Sportsman’s Grille, “The Village”
Stanford Fine Art
Steakley Kitchen & Bath Showroom
Steinway Piano Gallery
Summer Classics
Temptation Antique Galleries, Inc.
Trim Classic Barber Legendary Beauty
Two Moon Gallery
Villa Designs
BE DAZZLED BEADS
Epiphany
Spring Hill:
Rippavilla Plantation
Thompson’s Station:
Homestead Manor Plantation
White House:
First State Bank
Southern Inspired Magazine
can be found in many medical
and business waiting rooms. To
request a copy for your waiting
room or office, please contact:
Ann Smith
[email protected]
CONTRIBUTORS
8
Robert Hirst
A graduate student from Berkeley in
1967, Hirst failed his German exam,
lost his TA-ship, and took a job as
a "proofreader and checker" in the
Mark Twain Project. In 1980 he
became a general editor and hasn't
had a dull day since.
Thoroughly Arkansan, Kevin Rowlett
relocated to Nashville after college
to continue his casual saunter
toward adulthood. When he’s not
writing, he’s most likely expanding
his useless pop culture knowledge
or being a man about town.
Hannah Harris is an honor student
who likes swimming, music, and
the arts. She enjoys traveling and
writing about her adventures. She
loves to spend time with her family,
cat, Noodle, and dog, Marco.
Malarie Woods, MTSU graduate
and Nashville native, is not getting
married, at least not any time soon
(so don’t let her article throw you).
For now, she is enjoying writing and
living in Nashville. She hopes to
soon pursue a graduate degree.
Aimee Hale is a born and raised
Nashvillian. Aimee graduated from
Nossi College of Art in graphic
design and is continuing her degree
at MTSU. Her interests include
painting, sculpting, outdoor sports,
and good music.
Sara Bailey enjoys art, photography,
sweet tea, and summertime, during
which she and her husband argue
about buying Braves or Red Sox
paraphernalia. As a visual designer,
her choices are influenced by the
patterns she detects in the natural
world, particularly the Middle
Tennessee countryside where she
was raised.
Claire O. Ploegman made the
jaunt from hometown Carbondale,
southern Illinois, for no reason,
which has resulted in lots of rhyme.
While wearing magazine hats, she
also hikes, embraces macrobiotics,
follows Cubs baseball, and returns to
modern literature.
Lisa Young Barry
Fiddling with furniture painting, faux
finishing and browsing for perfect
pieces for her antique booth are
some of Lisa’s favorite pastimes.
She is sweet on fabric, color, paint
and anything related to design
and decorating. Oh yes, did I say
she LOVES color? A prerequisite
for Lisa’s projects is that they must
spark cheerfulness as she works
– it is a must! She fancies that her
designs may sprinkle happiness over
all of her customers -- Inspirez le
Bonheur!
Your Destination
Wedding on a Budget
plus a sneak peak at Drea’s featured venue!
D
on’t let anyone tell you that in order to
have a “destination” wedding it needs to
be held on a tropical island, far away with private
jets and a budget of over 100K. This is simply not
the truth! Actually there are many venues in the
south that can be spectacular for “destination”
weddings without having to get passports for
all your friends or over spending your budget.
I like to think that a destination wedding can
be within a four-hour drive and everyone can
attend without spending ‘buku’ bucks. The week
or extended weekend can be filled with exciting
and engaging activities for all family and friends,
e.g., water sports, hiking, carriage rides, wine
tasting, private chefs, golf, and more. All of this
can be achieved within driving distance of your
own home.
Most people think they can’t afford a place
such as Swan Ridge (my featured venue).
Why spend money for an eight-hour rental
where you feel like you’re hustled in and
hustled out? Swan Ridge and other similar
venues offer more inclusive packages for
weekends or week rates. So for what you might
spend on a one-day rental you can often find
a place that will rent for the whole weekend
giving you a real destination treat. Furthermore,
don’t be afraid to plan a wedding in less than
one year. Often times if your family and friends
can be a little flexible you can negotiate a lower
rate with a venue to fill a spot that someone else
may have cancelled. So jump in and have the
destination wedding of your dreams without a
big budget.
My feature venue for a last-minute fall
booking or booking in the spring of 2011
is Swan Ridge in Speedwell, Tennessee.
Speedwell is just north of Knoxville and
provides a nice alternative to the bustle of
Pigeon Forge. A perfect place for a destination
get-away wedding! Swan Ridge is a 10,000
sq. ft. custom log home that sits high up on
a secluded ridge overlooking Norris Lake.
Spectacular vistas and gorgeous sunsets will
provide the perfect backdrop for memorable
photos of your big day. Swan Ridge sits on
ten private acres perfect for tents and large
parties, but intimate enough for a small
gathering and rehearsal dinners or even a
romantic honeymoon! With an in-house
game-room, sauna, whirlpool, outdoor hot
tub, swimming or boating on Norris Lake, or
relaxing by the Great Room’s grand wood
burning fireplace, Swan Ridge will
keep everyone in the group having
fun! This venue offers a wide variety of
services and can accommodate a large
number of guests in the main house with
smaller rental cabins available on the
water. Close enough to be affordable and
far enough for a destination feel. So have
your destination wedding, just drive there!
For more information contact
Drea Gunness at 615-809-5455
or visit www.gunnessinc.com
Professional Oil Pet Portraits
by
Michael Lang
615-351-5139
SIGHT SEEKING � THORNCROWN CHAPEL
Thorncrown Chapel
By Nate Smith
D
eeply set against the backdrop of the Ozark
Mountains near the quaint small town of
Eureka Springs, Arkansas, stands Thorncrown
Chapel. A brief meandering hike amidst the
dense forest obscures your first glimpses of
this commanding structure. Light refracting through the
blowing leaves and the gentle crunch of the underbrush
only increase the anticipation of encountering what
the American Institute of Architects deemed one of the
top ten buildings of the twentieth century. It is only
upon entering the clearing and seeing the façade in
its full grandeur that you begin to understand the true
significance of this “wayfarer’s chapel.”
The late Arkansan architect E. Fay Jones designed
Thorncrown Chapel. After studying architecture at
the University of Arkansas near Eureka Springs, as well
as Rice University, he began teaching architecture at
the University of Oklahoma. It was there that he met
renowned American architect Frank Lloyd Wright. Wright
invited Fay to study at Taliesin West, Wright’s
home and school, where Fay became Wright’s apprentice
and, later, a Taliesin Fellow. Wright’s influence had a
profound impact on Fay’s understanding of detail and
overall naturalistic aesthetic. Fay then joined the faculty
at the University of Arkansas serving as the first dean of
12 � SOUTHERN INSPIRED MAGAZINE
the School of Architecture. He fell deeply in love with the
Ozark Mountains and began discovering his own voice
among the stones and streams. Fay’s environmental
approach to developing projects using mainly local
materials and simple construction techniques served as
both a precursor and inspiration to sustainable design,
still years away. Fay’s impact was worldwide, and, shortly
before his death, he was recognized as one of the top ten
living architects of the twentieth century.
Arkansan Jim Reid, who purchased the scenic landscape
in 1971, conceived the idea for the chapel. Rather than
keep his beautiful setting for his own enjoyment, he
wanted to let everyone experience the area’s sweeping
views of the Ozark Mountains. By creating a sacred
space within the forest, Reid invited travelers to a place
of rest and introspection within nature, yet still set apart
from it. Fay quickly accepted the project on a shoestring
budget and synthesized his ideas of man versus nature
with order versus chaos. The project was wrought with
financial struggles, but, over time, Reid’s vision became
reality—a place that many critics have called “one of the
finest religious spaces of modern times.”
Thorncrown rises forty-eight feet vertically, constructed
of wood and glass. The only inorganic materials used
were the diamond shaped steel inlays at the center point
SIGHT SEEKING � THORNCROWN CHAPEL
where the wood trusses meet. The building was designed in such a way that no
trees were cut down during construction, and all materials were carried in by two
men along a forest path. The stone floor was made using native stone causing
it to further appear as an extension of the landscape, as if it already belonged to
the environs. Fay drew inspiration for this light-filled cathedral from the Gothic
cathedral Saint Chapelle. However, the transparency of the structure creates a
different interpretation of space than the monolithic quality of the stone cathedral.
From the exterior, your view penetrates through the structure allowing you to
see the surrounding forest. The line between interior and exterior is then blurred,
as you become unsure of where the building ends and nature begins. However,
after entering the structure, your perception is transformed. It becomes clear
that the space is delineated from its surroundings. The sanctuary feels akin to an
observation bubble in a submarine, thrust deeply into endless oblivion, yet safely
guarded from it. The play of natural light further enriches the overall experience.
Views of Thorncrown throughout the day are constantly changing as the sun’s
movement sweeps through the repeating trusses and glass creating infinite light
patterns and interpretations of the space. As the seasons change, the backdrop
for Thorncrown flourishes and withers as the leaves oscillate and waver with the
coming of each year. The appearance of the chapel is thus tied to the scenery,
influenced by the very rotation of the earth and its position around the sun, as if it
was a plant growing from the forest ground. Walking away with your back to the
façade, it is hard to resist the urge to turn back, to search for any hidden mysteries
you might have failed to notice. But you keep walking, with clarity of mind and
soul.
Thorncrown Chapel is an architectural landmark that exudes sustainable design sensibility and profound simplicity.
Thousands of travelers visit Eureka Springs each year just to catch a glimpse of the late E. Fay Jones’ masterpiece.
The chapel is an ever-popular location for wedding events, a structure not only devoted to introspection and deep
thought, but to the celebration of the union of souls. It is hard to imagine a more serene and tranquil location to
facilitate this ceremonial
partnering. The Chapel
provides the perfect
combination of an outdoor
and indoor wedding,
remaining sealed off from
the elements, yet completely
aware of them.
Thorncrown Chapel is
recognized worldwide as
one of the great structures
of our time, and it belongs to
everyman. It belongs to the
farmer, the schoolteacher,
the stockbroker, the architect,
and the priest. It necessitates
reverence, its visitors reduced
to humble astonishment.
Thorncrown Chapel stands as
a monument to the South, to
nature, to God, to love, and to
the few sacred places still left
on Earth.
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SIM HEALTH � GOING FOR THE GOLD
Twenty
Years
On The Gold Standard
By C laire P loeg man
SIM HEALTH � GOING FOR THE GOLD
Dr. Michael H. Gold recently saw the proof that
his locally based practice, Gold Skin Care Center
in Green Hills, really did turn twenty this year:
“I just saw my first third-generation [patient],”
he says with a mix of confidence, humility, and
amazement, the alloy that characterizes true
accomplishment. “Twenty years ago, I started
with a nurse, a receptionist, and me,” says, Dr.
Gold as he remembers, “We used to sit on the
floor and sort out insurance claims.”
Now, satin-skinned faces fronting framed
magazine covers parade down office corridors
in neat lines, as if large, outstretched rolls of film
documenting Dr. Gold’s status as a sought-after
M.D. who regularly elucidates dermatological
advances from the sidebars of top health and
beauty magazines (though international medical
conferences share him, too). Most girls could
easily fill a shopping bag with specific issues
(from the nineties, onward) that they recognize,
having shelved their own copies like reference
manuals with hip typography.
This decorated location is home to Dr. Gold’s four-faceted
dermatology practice, which seamlessly blends advances
in medical, cosmetic, and maintenance care.
The founding flagship, Gold Skin Care Center, is the hub for
medical concerns from acne to skin cancers to psoriasis.
Dr. Gold’s experience enables rapid diagnoses. When Dr.
Gold and partner Dr. Judy Y. Hu are both in the office, they
can see up to 250 patients in a single day.
Patients bound for relaxation and perfection frequent
Gold’s Advanced Aesthetics Medical Spa, a service added
in 1991, or “year two.” Today, lighted shelves display
tomorrow’s department store miracles. One of the newest
services is the Jet Peel, a chemical-free saline and vitamin
facial infusion.
“New to Gold” is quite the declaration—and definitely a
reason to stop in.
Whether treatment is exigent or elective, Gold is able to
deliver the sharpest care because of its innovative and
high-tech branches, the Tennessee Clinical Research
Center and the Laser & Rejuvenation Center. Dr. Gold
first differentiated his expertise through intensive studies
on wound healing and scar management, concerns
dramatically resolved with the introduction and refinement
of medical lasers. Dr. Gold explains how his practice
15
secures the newest innovations first: “We have been
very fortunate to be part of the laser, filler, toxin craze.
My patients get to use machines before they even are
on the market. If there’s a new laser, ninety percent of
them are going to pass through here before they get
on the market because of our research facilities and
my podium presence.” With over forty lasers on hand,
Dr. Gold and his staff are ready to correct conditions
effectively, keeping any pain to a minimum. “Not one
machine fits all the bills…you need to have the mix
because you need to understand the skin and what
it does,” says Dr. Gold. Similarly, Dr. Gold alludes to
two upcoming treatments: “People know Botox and
Dysport, but there are two others that are coming.
We’re the only office that has studied all four of them in
a research situation in the whole country.”
With access to the newest technologies and influential
input for developing types, Dr. Gold is ever at work
learning, testing, and training his own staff as well as
other medical professionals to make sure advances in
technology mean advances in care. “There’s always a
doctor on site, every day… and that’s something you
don’t see everywhere,” notes Dr. Gold. Every member
of the nurse practitioner staff has been with Gold Skin
Care Center for at least ten years, yet another indicator
of quality care and company culture.
And truly, the people at Gold Skin Care Center cannot
help but pursue healthy, flawless skin. This past May,
the floodwaters necessitated a flood of workers. Dr.
Gold’s office, true to specialization and true to form,
saw the situation through the eyes of dermatologists,
distracted by sandbag assembly lines, or rows of arms,
shoulders, and faces soaking up days of rays before
pool season. Eager to aid the relievers who might run
riverside before slathering on the good stuff, Dr. Gold’s
office initiated a sunscreen drive, delivering donations
to Bellevue Chamber of Commerce and Hands on
Nashville.
Grown out of medical training, research, and protocol,
Gold’s slogan is also a guiding principle: “Beautiful skin
is our only business.”
18
SPOTLIGHT � MARRY YOU, MERRY ME
Marry You,
Merry Me
Bearing in mind the profound joy of the day, the
southern bride is the cheerful champion of taking
tradition in arms while playfully engaging her guests
and winking at her groom. Sweet thoughts lace
together each aspect of our featured ceremony and
reception, blending convention and originality into one
genteel, personalized custom that suits the couple and
entertains all of the happy witnesses and well-wishers.
Photography by Jon and Emily Beaty
19
Color
Bridesmaids’ dresses in perfect
gray scale, yellow and gray
script lighting its way across
the programs, buttery icing,
pewter-hued satin ribbons,
sunny clutches of wildflowers—
all details play with the palette
inspiration found in three
gently geometric fabrics
from the Midwest Modern
collection by Amy Butler. The
bride purchased fifteen yards
of these petite prints, most
notably displayed as runners
for the dining tables at the
reception, prior to planning
any other element.
Tradition, Tradition
The outdoor setting holds to traditional reverence on the
steps of a stone chapel, aged and ivied, where the bride
and groom lean toward one another.
In the course of an outdoor
southern wedding, it is quite
common to see flushed ladies and
gents use their pretty programs
as fans, fluttering full throttle. Our
featured bride designed programs
up to the once improvised task by
fashioning each with card stock,
hefty for holding up to its own
wind, and a light, wooden handle.
The design welcomes guests to
stay comfortable and relieves any
worry that employing programs
for personal air conditioning
is somehow an accusatory
gesture indicting the hosts. From
thoughtful to fun, the mad lib
party game on the reverse side
encourages unacquainted wedding
goers to fan up introductory
conversations.
In Bloom
The southern sense of
locale means pride in home,
in roots. Local flowers
beautifully embrace the
bride’s sentimental spot in
the sun, from showcasing the home region that grew
her to encircling the union she and her groom seal at
the end of the aisle. To find local flowers, brides can
stroll through their hometown farmers markets and,
quite possibly, make friends out of vendors. Outdoor
markets typically run from April to October, though the
growers tend their keeps twelve months of the year
with greenhouses. (Lavender and Lenten roses are two
lovelies that raise their heads through the South’s lenient
winters). Our featured bride bought her bouquet, two
corsages, five bridesmaid bouquets, and flowers for
fifteen to twenty tables for less than the quoted price for
a single centerpiece at a trade florist. For brides of any
budget, local flowers are too good to be true, because
“too many flowers” really isn’t a valid or welcome phrase
at a southern wedding.
Naturally Acquainted
For the chapel doors, two foam letterforms wrapped
in lush moss naturalize the tradition of wedded
monogramming, yet two J’s—one for Jacob and one for
Jessica—lighten the formality as the chosen initials put
the sweetly sincere affair on a first-name basis.
“Hand-cut” Flowers
Even artificial flowers can open with sentimentality and
panache. Hand-cut, fabric boutonnières accented with
moss and vintage buttons point out the groomsman.
Hovering amid size-equivalent paper lanterns, spherical
tissue-paper blooms detail the outdoor ceiling at the
reception. Pearl-centered petals flutter upon the cake
table, and one meaningful blossom of ivory mixed
media—fabric from the bride’s gown, lace from her
21
photographer. Perfect portraits reflect the bride
and groom’s shared and individual personalities,
qualities that an excellent photographer can stylize.
Photos of the bride and groom form a relationship
timeline that travels the perimeter of the outdoor
reception space on a clothesline.
Reception guests can commemorate the festivity of
the day when they take a break from the cake and
smile for fun photos. The photo booth, complete
with props for guests who really like to give and get
the gift of laughter, provides a party diversion and
adds an informal section to the couples’ wedding
album.
A cluster of family photographs, hallowed by the
phrase “In Loving Memory,” includes loved ones
whose passing is ever felt.
Keepsakes
A book engraved with the title, This Is Life, opens
to reveal two wedding bands linked with a ribbon
inside an indented square box carved from the
pages. The beautiful case is a sweet re-imagining
of the ring bearer’s pillow.
The traditional guestbook becomes a piece of
original art for the newlyweds’ home when guests
sign accordingly. A delightful take on an extended
family tree, the black-and-white, leafless column
comes to life as guests ink their thumbs with the
provided green inkpads and stamp their IDs in the
mother in law, pearls from her
grandmother, and feathers—
sculpts a fanciful fastener for
the bride’s cage veil.
Photography
Beyond the marriage license,
wedding photographs are
proof of the joyful union.
Couples generally spend
the largest fraction of their
wedding day posing for
or sought out by their
branches. For a fall wedding, simply use red, yellow,
and orange inkpads. Flowering pink trees are apt for
spring nuptials.
A birdcage on the gift table clearly marks a place
for cards so no guest has to wander around forever
holding his or her piece.
23
TREASURES � DECORATIONS
Re-use
your
Wedding
Decorations
BY SAR A BAILEY
a sweet potato pumpkin paired
with two baby dumpling
pumpkins, in front of a flower
arrangement that was used
during the ceremony
a knucklehead
pumpkin, with
two small tin pail
arrangements
which were placed
on small tables
throughout the
reception
my bridal bouquet, placed in front
of an upside down flower pot
Instead of boxing up my wedding
decorations to never be seen again
for years, I like to re-use them
when I have friends over for either
informal barbeques or formal
buffets. I enjoy seeing my decor
being used to spruce up a party, and
it’s nice to think of the memories
they bring back to mind.
Since my wedding was in
September of last year, the fall
season is the perfect time to bring
out my much loved accesories.
We worked hard on creating the
ornamentation to accent the
wedding, and it is great to have
them displayed again for friends and
family to see once more.
READER RESPONCE � LOVE, LOVE, LOVE!
Featured reader Bethany Nichols Shantz glows,
“I love your magazine (love, love, love!),” and we
adore her Montgomery, Alabama, bridal photos.
Kudzu and cowboy boots gave Bethany’s new
Canadian relatives a glimpse of what life and
style mean in the South.
30
SIM Reader Response
LETTERS TO THE EDITOR
Letters to the editor can be sent to:
Editor
P.O. Box 682428
Franklin, TN 37068
All letters must include contact information
and the author’s signature.
SPECIAL EVENTS
To submit special event pictures or to request
a representative from Southern Inspired
Magazine to cover an event, please contact
Ann Smith at
[email protected].
SUBMISSIONS
Southern Inspired Magazine welcomes
submissions of freelance articles,
photography, and art for publication.
Queries should be accompanied by three
published clips along with a SASE if you
would like the materials returned. However,
SIM cannot assume responsibility for the
loss or return of unsolicited manuscripts or
artwork. Submissions should be sent to:
Submission Editor
P.O. Box 682428
Franklin, TN 37068
or [email protected]
ON TOPIC � MIRIMICHI
Mirimichi
The Greenest Greens
And a World Class Way
to the Eighteenth
32
I
It was the summer of 2009 when Lynn Harless, good-natured as ever,
grabbed the spray can from her friend’s hand and paced out the patio
perimeter she had been trying to get across, words seeming threadbare for
the enterprise. Her helm of close collaborators marveled as she marked
the scale of her vision, and their huddle talk stretched to shouting distance.
Within weeks, the generously outlined patio came to life when it opened
as part of Mirimichi, a world-class golf destination in Millington, Tennessee.
t was the summer of 2009 when Lynn Harless, goodnatured as ever, grabbed the spray can from her
friend’s hand and paced out the patio perimeter she
had been trying to get across, words seeming threadbare
for the enterprise. Her helm of close collaborators
marveled as she marked the scale of her vision, and
their huddle talk stretched to shouting distance. Within
weeks, the generously outlined patio came to life when it
opened as part of Mirimichi, a world-class golf destination
in Millington, Tennessee.
These days, umbrellas, every color of the toucan, spring
open in anthesis above the guest tables stippled around a
central, open-air bar and grill. A twinkling lake, fountains,
and flitting pin flags fleck the changing saturations of
green that roll with the topography. At the far end of
the patio, an easy stripe of rocking chairs relaxes the
border beholding Mirimichi’s championship ninth and
eighteenth holes, or “the turn” and “the end,” where
golfers tally their frustrations and finishes.
“This is a great place to take a view of everything that’s
happening,” says Rich Peterson, general manager of the
standout public course.
And truly, the patio that Lynn mapped for Mirimichi is
the place to announce new happenings. Semiannually,
the porch furniture parts, and the view refocuses itself
as a backdrop for press conferences hosted by Justin
Timberlake, the globally embraced, genre-funneling pied
piper who also happens to be Lynn’s son and Millington’s
own. Media coverage began when Justin purchased the
spot, formerly known as Big Creek Golf Course, where he
learned the game at the hip of his stepfather, Paul Harless.
In his opening-day address, Justin even pinpointed the
old tenth tee as the site of his first swing. But rather than
simply resurrecting Big Creek, the family of owners reimagined everything a world-class golf destination could
offer its community, its environment, and its sport for
a mirimichi, a Cherokee word meaning “place of happy
retreat.”
Mirimichi’s exterior footprint, a fish-like silhouette
demarcated by an olden forest of hardwoods, is
unaltered, but inbounds, Millington’s loyals have been
known to get lost when carting around according to
assumption. A new fleet of terracotta-colored electric
golf carts, complete with GPS, rides on paths through
Mirimichi’s new look. The paths themselves carry a
reddish pigment that reduces heat absorption to prevent
baking the abutting turf. A stone-lined creek takes its
time through the back nine. Placid and stately, the
water wall draws a clean yet natural line, and formally
architected stone trestles offset footbridges of single
rock slabs. A shaded tee box is marked by orderly stones
that topple to blend with the approaching creek bed. In
the open, sunnier areas, meadows arch embankments
in pointillist sweeps of spider flowers and black-eyed
Susans. Native grasses grow into the fairways like sharp
peninsulas with trains of horsetail grass gesticulating
in the wind and flows of shaggier grasses pawing up
mounds. With the mature woodland border, hefty
boulders, and grasses that “grow like weeds,” Mirimichi is
a fresh course that’s been of age since day one.
Tennessee vegetation is more than a tribute to Mirimichi’s
locale. Accustomed to floods, high heat, and droughts,
native grasses and wild flowers require less water
utilization, making the design strategy environmentally
fastidious and far from visually finicky. Mirimichi flensed
managed features, or mowed, watered, and fertilized
areas, to reduce its tended acreage by fifty-five percent,
from 200 acres to less than 90.
Water care and conservation run through Mirimichi’s
veins. The creek and lake systems collect rainwater for
33
operations, and populous aquatic plants, densest in the
wetland area viewable from the entrance, cleanse the
waters naturally. Cattails and spatterdock are among
the familiar aquatics, with many more species courtesy
of nearby Reel Foot Lake. Mirimichi watches its water
reserves with an irrigation system that communicates
with a weather station and a smart pump, submitting
its fifteen hundred sprinkler heads to wind, rain, and
manual cues while calculating water usage to the
gallon. “Each irrigation head has its own address,”
explains Dustin Green, course superintendent, who can
command individual sprinklers of the Rain Bird Stratus II
from a handheld mobile control or the Natural Resource
Management Center hub. Though Mirimichi never mixes
fertilizers on the course, spray techs take great care with
their organic treatments and yard equipment fuel to
ensure that nothing is wasted and drainage, even before
recapturing, is largely benign. All run off water is filtered
through the waste-water management system until it is
literally drinkable, possibly even refreshing.
“When it comes to the
golf aspect of it, we try
to use the airy [native
grasses],” says Russ
Demotsis, Mirimichi’s
environmental
specialist. “If the ball
does go in it, they can
still see it to play at it,”
Russ says, with Greg
King, director of golf, in
earshot—just one way
in which every aspect of
Mirimichi is aware of its
partnering interests.
Mirimichi is the only golf course worldwide to garner
certifications from both Audubon International and the
Golf Environment Organization, the latter awarded during
Mirimichi’s intensive improvement period preceding the
fall 2010 season. Mirimichi is a forerunner, meeting yearly
certification audits from both its green admirers while
serving as a resource for courses—and even countries—
around the world.
Got-to-play-it golfers officiate the day in and day out
“audits.” To a far greater degree than most televised
sports, golf’s playing field dramatizes the game as much
as its players, and the background presents a reason
for even non-golfers to watch. “A really neat concept
that our architect Bill Bergin really prides himself in
is challenging a great player while still making an
experience that the average player can enjoy,” says Greg
King, director of golf at Mirimichi, explaining that, in most
cases, respectable bogies fend off a player’s compulsion
to pocket the ball and the misery counted in turkeys and
quintuples. Players fit their skills to one of five flights to
navigate the course. The Black Rock and Blue Sky tees
tempt expert risk-rewards where Red Clay might soar
over trouble in its liquid and solid forms.
Every green, sand bunker (approximately eighty
beaches), and fairway underwent an innovative remodel.
A beautiful functional coat, Mirimichi’s greens are
Champion Dwarf Bermudagrass and the first to use
the Texan Champion Turf Farms’ proprietary soil blend
to accelerate growth and speed drainage for firm, fast
greens. Mirimichi replaced its deep sand-spraying traps
with brilliant-white, quick-draining plate-style bunkers,
most comparable to Donald Ross designs. To shape the
original farmland-floodplain site, Mirimichi deepened the
lake, promoting a cleaner water system, and sculpted
course mounding with the dig up matter. “Now, every
hole on the front nine sort of has its own…little arena,”
explains Greg, “and you don’t feel like you can look over
and see every other hole.”
Sounding out the expressive Cherokee name at each
tee, golfers have to reset their approach to each hole.
Course highlights include Justin’s input for hole number
seven, Amayeli or “island.” Before reaching the waterside
hole guarded by a trio of bunkers, two sandbars split
the fairway down the middle. The tenth green is eighty
yards long, and the football field feel earns the hole its
name “snake,” prettier as Inadu. Hole sixteen, which
Greg describes as the “hardest and most picturesque,”
the creek gurgling on either side for 100 yards past
the forward tee, is sandwiched between fifteen and
34
After the one-thousand-year flood
on May second and third, Mirimichi
shoveled drifts of silt around the clock
for six weeks. On the driving range,
dredges climbed over three-fourths up
the pins. The water washed away an
expansive, organic vegetable garden
intended for a farm-to-table restaurant.
Every member of the staff, regardless
of job title and description, worked
shoulder to shoulder with the grounds
crew. Deb Peterson, director of sales
and marketing, learned how to drive a
tractor. Time in the trenches molded
Mirimichi’s mindset in the cooperative
tradition. Everyone at Mirimichi is in the
loop and proud to be.
seventeen’s par fours of essentially equal difficulty, the makings of a
long stretch in the sun.
There are reasons, however, to save the Championship Course for
another day. The greenest golfers, whether green of age, experience,
or both, can shirk their nerves on the eighteen-hole putting course.
An adjoining course called Little Mirimichi is ideal for nine holes of
happy hour pitch ‘n’ putt, hole one’s 255-yards offering a different
experience than the 400-yard journeys on the championship nines.
Extending world-class egalitarianism, both attractions sport Champion
Dwarf Bermudagrass. “We’re not just catering to the LPGA tour
player or PGA tour player. It’s everybody,” affirms Greg, who recently
received the 2009 Richard Eller Growth of the Game Award.
Ahead the driving range, the Mirimichi Performance and Learning
Center grows golf wisdom through imparting self-knowledge like
an earthy sage, footed with stone and muscled with wood beams.
Inside, age-old visualization practices go on omniscient autopilot,
combining playback and Doppler technologies to collect 150 different
measurements used in diagnosing swing glitches, charting ball
trajectory, and outfitting clubs and, more recently, golf balls. A glass face encloses an interior room that houses the
Callaway Performance Analysis System with big screen monitor. Down the hall, outbound doors roll up like scrolls,
allowing students to hit onto the driving range from one of three teaching bays while TrackMan Pro technology marks
their moves. A pride of two pros and three assistant pros, tour experience among them, means diagnoses will be
treated. “This performance center, particularly with the CPAS technology, is only one of a few in the whole United
States,” notes Deb Peterson, director of sales and marketing. And as the only center for 1,000 miles, Deb adds, “It’s a
great draw for not only Mirimichi, but the city, the state.” And because Memphian winters are too mild for hibernation,
golfers can play Mirimichi, indoors and outdoors, year round.
To think of Mirimichi’s future is to glimpse more green. In an
article titled, “Why We Play Golf Outdoors” (June 5, 2010), The
Wall Street Journal’s well-known avid, John Paul Newport, voice
of the weekly Golf Journal, considers natural connections and
rejections between golf and its environment. Newport not
only notes golf’s return to natural aesthetics since the eighties
but speaks to the growth of the game in a roundabout way,
mentioning that golf “newbies” and tagalongs have a way of
reminding would-be eagle golfers to realize they’re standing in
a scenic retreat—often in
the company of wilder
For more information,
life—fixated on counting
strokes. By the end of
visit www.mirimichi.com
the second paragraph,
Newport is enjoying a
Mirimichi
round anew with little
6195 Woodstock Cuba Road
ado. The thought process
Millington, Tennessee
bodes well for Mirimichi.
With a community of
38053
golfers walking and
carting along world-class
t: 901.259.3800
greenery, Mirimichi’s joy
is surely sustainable.
35
FITNESS � HOW TO THROW A BOUQUET
How To Throw
A Bouquet
B y M a l a r i e Wo o d s
36
FITNESS � HOW TO THROW A BOUQUET
W
hen I graduated from Middle Tennessee State
University in the spring of 2009, I didn’t expect to be
back a year later learning something that my journalism
courses didn’t even touch—how to throw a bouquet.
And from MTSU’s best thrower Steve Peterson, no less. If
a college baseball coach couldn’t perfect my bouquettossing technique, I felt it fairly safe to say that no one
could.
I’ve always thrown like a girl, and always defended it vehemently,
exclaiming that it’s not so bad if your gender is, in actuality, female. I
figured the one opportunity to throw like a girl and escape from being
teased would be the tossing of the bridal bouquet. After all, there are few
things more girly than weddings. A feminine toss should be the icing on
the tiered cake.
Not so. My form was obviously
lacking, I discovered, as Coach
Peterson took hold of my arms
and posed them in a more
awkward but supposedly more
beneficial position for the act of
throwing. There were a couple of things I was going to have to learn.
Lesson 1: Bend Your Knees. Stiff joints are not conducive to the art of
throwing something behind your head. Coach Peterson gave me this
advice repeatedly, as I forgot again and again to crouch lower.
Lesson 2: Follow Through. I’ve heard this sports rule all my life, and it’s
definitely true. If you let go of the bouquet the minute it’s over your head,
you’re going to
drop it short, and
your bridesmaids
will be disappointed
that your inability
to keep your arm
straight might have
cost one of them a
husband.
Lesson 3: Throwing A Bouquet...is nothing like throwing a
baseball. Coach Peterson might have gone a little out of his
league for our unusual request, but a great coach is always a
great coach, no matter the game at hand.
37
t
Patrica Jane & Company
V
isit us and sign up for our unique Bridal Registry. We offer
a variety of special services to brides who register with us.
Patricia Jane and Company proudly carries eleven
beautiful dish lines with a variety of patterns and
styles including the return of Gail Pittman.
• Hostess gifts/Bridesmaids’ gifts.
• Home accents, childrens,
Vera Bradley and Chamillia.
• Free gift wrapping.
Visit our website to see all the great lines our store has to offer.
We are available before and after hours by
appointment for the convenience of the bride.
www.patricajaneandcompany.com
$15 gift certificates to brides who register
(redeemable after your wedding date with this ad).
Hours: Store Hours:
Mon & Sat 10-5; Tue-Fri 10-6;
Closed Sunday
149 Bonita Parkway
Hendersonville, TN 37075
615-264-2377
SIM REVIEW � A GROWING PLACE
A
Growing
Place
By Malarie Woods
Shannon Dunn always
knew she wanted to open
a children’s boutique. In
February of 2008, the
opportunity arose for her
to do just that. Events lined
up perfectly, and just when
Dunn quit her old job, the
Goodlettsville space became
available, and she jumped at
the chance to do what she
had always dreamt about.
Dunn and her team spent three months renovating the building that had housed a women’s consignment shop for
years. After installing all new floors, windows, and some fun touches like chandeliers, the doors to Lizards and Lace
opened, and the small business has grown rapidly in the almost three years since. The six-woman staff genuinely
loves what they do and cares deeply for their customers. “There are great girls that work here,” says Dunn, who claims
the small-town, caring feel of the store accounts for most of their success, not to mention the centrally located space,
just minutes off the interstate.
The store boasts unique gifts and affordable designer clothing that’s hard to come by elsewhere. A wall of hair bows
in all different colors and styles is the first sight to greet Lizards and Lace’s guests. From there, the eye gravitates
toward the giant umbrella in the center of the floor, under which is every imaginable party outfit and birthday favor a
40
SIM REVIEW � A GROWING PLACE
child can imagine. In the back of the store, a small play area is set up with
a television for the child who, now and then, is unwilling to shop, happy to
have his or her parents make the choices.
Since the store sells clothing for newborns and children, up to size seven for
boys and sixteen for girls, kids can really grow up here. Some of the styles
kids adopt mix tradition with a helping of fun, like Lizards and Lace’s in-store
monogramming for anything, even items purchased elsewhere. The shop
carries dance clothing as well as holiday outfits, formal dresses and suits,
and sibling sets. These occasion outfits mark childhood milestones, and
Dunn is particularly excited by all of the age-appropriate styles available for
the tween crowd.
Other unique products include Squeaky shoes, which help toddlers learn to
walk with the proper amount of weight on their heels, Noodle and Boo skin
cream, which is said to work wonders for eczema, and Saltwater Sandals,
which are made of attractive, completely waterproof leather. There are
even some organic brands like Twirls and Twigs.
Some of the inventory is hard to find. “People drive from
Bowling Green, Franklin, even Indiana for Widgeon coats,” says
Dunn. These coats are popular because of their versatility as
well as their machine-wash-ability.
Like the children it outfits, the store is not done growing yet.
The ladies of Lizards and Lace will soon be offering personalized
mugs or ink pens, created on the spot, while you wait.
Employee Joy Morris recently began selling her hand-made,
plastic-coated
handbags called
Available Designer Brands:
Joyful Creations,
which are also
Alessia
completely
customize-able.
Bailey Boys
Soon, the Lizards
and Lace website will include all new inventory.
BelleAmie
Biscotti
The boutique is more than just a store for the happy women who
work in it and the families who find their best threads. Dunn really
CachCach
emphasizes the power and quality of her work when she explains,
“What we do in here, we do to glorify God,” suiting up the kids and
Kalencom bags
setting a good example.
Kate Mack
LeZaMe
Murval of Paris
Peaches and Cream
Ritzy Tots
Viva Beads
Lizards and Lace
136 South Mainstreet
Goodlettsville, TN 37072
T:615.859.5225
lizardsandlace.myshopify.com
41
TWEEN TALK � BRACELET CREATIONS
Making A
1-Strand Bracelet
“It’s that time of year again,” all the adults keep saying, but I am always so excited to start looking for
Christmas gifts for my grannies and girl friends, especially. I have to start in October because I make most
of my gifts, and I need the extra time. So, Millie, Hailey, Ericka, and I spent the afternoon at a place called Be
Dazzled Beads. I was bedazzled! I have never seen so many types of beads. It took me a long time to decide.
I wanted to look through every container, but I would have had to start months earlier. There’s just so much,
and that is great fun. All four of us left with dozens of great ideas (4x12=48). Friends and family, be prepared
to be dazzled at Christmas this year.
1. Measure Your Wrist.
Use a piece of cable wire or string and
measure around your wrist, at the point you
want your bracelet to lay.
This gives you a beginning idea of how long
you will need to make your bracelet.
Remember that the clasp you put on will
probably add another 1/2” to the length.
After you put all your beads on your wire,
you will need to re-measure your wrist. The larger your beads, the longer your
bracelet will have to be.
2. Pick Your Beads
Beads come in all different colors, shapes
and sizes. Create something wonderful.
BE DAZZLED BEADS
718 Thompson Lane, Ste 123
Nashville, TN 37204
Phone: 615-292-0610
42
TWEEN TALK � BRACELET CREATIONS
3. Lay out your beads on a
bead board.
This will help you create a beautiful pattern and
arrangement. It will help you to measure how long
your bracelet will end up.
When you lay out your beads, be sure that all the
holes are lined up and go in the same direction.
4. S
tring your beads onto a flexible,
nylon coated cable wire.
For a bracelet, cut a 12” length of cable wire, around .019” thick. [For a
necklace, you would cut a length of cable wire 12” longer than the size you
want your necklace to be, and use a flexible cable wire, around .014” thick.]
Clamp a bead stopper (or tie a loose knot) on one end of your string, and
hold the other end between your fingers, so that you can pick the piece up. You want to hold it again around your wrist, to see if you need to add any
more beads, or subtract some beads. Put the piece back on the bead board. Remove the bead stopper (or untie
your knot), and do whatever you need to with your beads. Re-measure this around your wrist.
If the fit is what you want, you will be ready to add the clasp.
5. Adding the clasp
First, cut the ends of your cable wire, so that you have a 4” tail on either side. The tail is the part of your wire that is NOT covered in beads.
Slide a crimp bead onto either end. Clamp one end with a bead stopper (or tie a loose knot).
On the open end, feed the wire through one side of your clasp, and back
through the crimp bead. Push the crimp bead close to the clamp, but not all the way. You want to leave a
little bit of a loop, so that the clasp can move around freely and not get stuck. Using a crimping pliers, crush the crimp onto the wire to hold the clasp in place.
Finally, feed the remaining tail back through at least the first bead, and
preferably through a few beads, before trimming it off. You want to cut it off as
close to the bead hole as possible.
This side is done.
We remove the bead stopper (or untie the knot), and repeat these steps on the
other side with the other half of the clasp.
43
We do,
we do,
we do!
•
•
•
•
•
•
•
•
•
•
•
•
•
Wedding Invitations
Rehearsal Dinner Invitations
Shower Invitations
Napkins
Stationery
Programs
Fans
Guest Favors
Wedding Party Gifts
Guest Books
Cake Toppers
Save The Dates
Planning Essentials by Mindy Weiss
& Much More
420 East Main Street - Gallatin
615.230.7948
[email protected]
Visit our page on Facebook
Store Hours
Monday - Thursday 10 ~ 6
Friday 10 ~ 5
Saturday 10 ~ 3
Essy’s Rug Gallery
24 Years’ Experience
Question & Answer
Q: Why did you decide to open a rug store at the Factory in Franklin?
A: I love the town of Franklin. I’ve been in the area for
24 years, raised 4 kids and live downtown. Tt’s such a
welcoming community. I’ve been coaching youth soccer for 8 years here in Franklin.
Q: Tell us why we should purchase a rug from youinstead of other rug retailers in the area?
A: First, know up front, that we want to sell the perfect
rug for you. Not for us. It should be a rug you want,
need and can afford. And love.
Q: I s it true that you will help plan the space with
which rug is best?
A: Yes, I offer a free rug design consutationat your home
or photos you bring in. We talk about the space and
how it is used.
Q: What would people say if we asked about Essy’s?
A: They would smile. They would say we are experienced
and helpful; not pretentios. They trust us. Like family.
Essy’s Rug gallery
Rugs From Around The World
230 Franklin Road • Franklin• 615-595-0959
Mon-Sat 10am-5pm
Located in the Factory at Franklin
Wash & Repair
Available
GIVING BACK � WOODBINE COMMUNITY ORGANIZATION
With a Little Help From Your Friends:
Woodbine Community Organization
By Kevin Rowlett
W
hile discussing the
detailed goings-on of the
Woodbine Community
Organization with its
executive director, Cathie
Dodd, the first few notes
of “Dueling Banjos” waft
into her office from
across the expanse of
an elongated room that
collects the non-profit’s
occupied staff. We break
from conversation to
study the sound—an
older gentleman stands
before a stage and picks
his instrument for an
assembly of rapt ladies,
the Woodbine Seniors.
The Woodbine Seniors
meet in the building each
Tuesday to visit, exercise,
enjoy entertainment, and
develop new programs
in their own self-invested
body. After a few
moments of undivided
listening, right before the
tune flurries into the familiar
scherzo that namely
requires two banjos (but, in
this case, commanded with
just one), Cathie turns and
says matter-of-factly, “Can’t
get much more grassroots
than that.”
48
“The Woodbine Seniors have earned their Tuesdays,” says Dodd, who explains how
the ladies went to the city council on WCO’s behalf in the past. Lifelong residents
of Woodbine (or Flatrock), the Woodbine Seniors, along with a tight-knit platoon
of staff and volunteers, concern themselves with the growth and interests of the
Woodbine neighborhood, a tradition inherited from Fannie Williams, affectionately
referred to as Miss Fannie, who served as one of WCO’s founders. She was ninetyone years old and had been vastly active in the community since the 1920s when
her Woodbine sewing club began advancing its environs through social and
economic work. Established in 1955 as an official iteration of the sewing circle’s
activity, Miss Fannie created the Woodbine Community Center and remained
relentlessly involved until her death in 2001, at age 107.
Operating in a practice of thought that was sparsely
shared among her contemporaries, Miss Fannie charged
to smudge racial margins and cultivate the area into an
exemplar for progressive thinking. An African-American
woman, Williams transcended civil expectations of the
South in her lifetime, never burying her disquietedness
when she espoused an issue. With no sewers to
prevent inundation in Woodbine, Miss Fannie once
famously delivered a bucket of flood water to a Metro
superintendent and declared, “I’ve lived with this for
ninety years, now you live with it,” and the problem was
solved.
Cathie, a friend and regular visitor to Miss Fannie,
began her work with WCO in 1990. She is an educator
by profession, with the excited mien of one whose
raison d’être resides in a love for people. She directs
the WCO team in a renovated schoolhouse, once
Woodbine Elementary, a building that averted destruction
through yet another of Miss Fannie’s cooperative feats.
Chartered in 1985, WCO’s first order of business was
to work alongside Woodbine neighbors and the health
department to rescue the boarded-up elementary school.
This collaborative effort proved instrumental in directing
federal dollars to the rehabilitation of the location, and,
in 1989, the Metro
Health Department
moved into the building,
followed by WCO in
1990. The organization
acquired funding from
the Neighborhood
Grant Program for seed
money and has been a
community staple ever
since. When Cathie
began as executive
director, she tutored
and participated in
after-school activities,
eventually seeing WCO
build its first four houses
to aid low-income
families and facilitate
their homeownership
aspirations.
housing all across Tennessee and into other states like
Alabama and Georgia. With Neighborhood Stabilization
Program (NSP1) funding, WCO remodeled Belmont
Village on 12th Avenue South, a forty-four-unit apartment
complex that now serves as homeless and low-income
rental housing. The non-profit later received nine million
dollars through NSP2 funds, allowing it to continue its
affordable housing development throughout Davidson
County, including several inexpensive Adult Living
Centers for Nashvillians who are elderly or disabled.
WCO’s capacity to fund itself in this manner is smart
and necessary, especially during grant money droughts
produced by an unsettled economy. It is a curb many
smaller non-profits that depend on grants cannot
trounce, and though WCO has seen its own uncertain
times in the past, it continues to extend its devoted arms
to a growing community, notably through a range of
successful counseling programs.
Homebuyers’ education at the WCO began in 1995 as
a yearlong hour-and-a-half session that is currently
known as the Homebuyers’ Club and has serviced over
1,000 participants. By spanning the course over twelve
months, the curriculum offered extensive information
on homeownership (budgeting, credit stabilizing, home
Now WCO is selfsustaining, partnering
with other charitable
groups and churches
to purchase and build
49
purchasing, financing, etc.) while allowing people to build
a full year of clean credit and on-the-job experience.
The Homebuyers’ Club has been tremendously
successful and, as a Department of Housing and Urban
Development (HUD) approved housing counselor, WCO
has instituted several more programs
to assist residents in a similar fashion.
Just a few examples: Foreclosure
Prevention, which personally reviews
a homeowner’s situation and maps a
budget plan; Financial Fitness, which
teaches finance management; and the
Homelessness Prevention and Rapid
re-housing Program (HPRP), a division
of the federal government’s stimulus
package that permits WCO to direct
people into rental housing after a
foreclosure or intervene when a renter
faces eviction and guide him or her into
Financial Fitness or search for a more
reasonably priced space.
Now Cathie speaks on the breadth of
diversity in the Woodbine community,
C athie
and it becomes apparent that working
in such a multicultural area as South
Nashville is a delight she and her
colleagues prize. She admits that the growing array of
cultures in Woodbine can pack the U-Haul for some
folks but that others are drawn to a place with such
multiplicity. During the nineties, when Woodbine
experienced an influx of Latinos, WCO quickly developed
English as a Second Language (ESL) classes spanning
from beginner-level to advanced. Many nationalities
comprise the attendance of the ESL classes allowing for a
rich blend of students to share ideas and extend support
to one another. WCO also offers after-school tutoring
for children and recently added Spanish as a Second
Language (SSL) classes on Tuesday evenings.
Unsurprisingly, some have reproached WCO for
indiscriminately assisting residents of varying ethnicities.
Over the years, immigration debate has perched
on the periphery of WCO’s cultural assimilation and
educational endeavors, and Cathie confesses that some
of the misdirected objection once led her to question
the security of her job. But getting down to brass tacks
involves realizing that the indispensable spirit of WCO is
people helping people, and, for that, Cathie’s desk is safe.
With thousands of residents served, a number of home
and rental properties to boast, and twenty-five years
50
of good work in the community, it should seem rather
astonishing to find such refreshing amounts of modesty
around WCO’s Oriel Avenue headquarters, but it really is
not. In fact, it’s difficult to imagine WCO working out of
somewhere besides an old elementary school. The nonprofit remains grassroots and focused;
staying small means staying involved,
and once Cathie elucidates how she and
her staff keep perspective by keeping
relationships personal, it is evident that
this place wouldn’t operate the same in
any other mode.
Leaving the offices of the Woodbine
Community Organization, Cathie walks
me out of her office and towards the
front door. The banjo man begins
playing “Amazing Grace,” and we stop
by the reception desk to watch and
listen for a moment. The visible staff
sings along with the Woodbine Seniors,
and it all seems very fitting. Alongside
the Woodbine Public Health Center, the
Coleman Park Community Center, and
D odd
the Woodbine Farmers’ Market, WCO
belongs to a community invested in its
own longevity—people helping people in
the custom of Woodbine’s watchful mother, Miss Fannie,
who, well into her 100s, would hear of an injustice, pick
up her flag, and carry it to battle with the gusto of a
whole village.
Visit the Woodbine Community Organization
online at www.woodbinecommunity.org
Woodbine Community Organization
222 Oriel Avenue
Nashville, TN 37210
Phone: (615) 833-9580
Fax: (615) 833-9727
E-mail: [email protected]
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w w w.Th e P r e m i e r e Ev e n t . c o m
SOUTHERN GOOD LOOKS � SMOCKING
Smocking:
Tradition With A Trendy Twist
B y : L i s a Y. B a r r y
Have you ever noticed that the world’s most famous and iconic painting,
Mona Lisa, is wearing a smocked chemise? Yes, underneath the rich, dark
jewel tones of Leonardo da Vinci’s masterpiece one can see the smocking
accents peeping through the gown’s neckline.
What comes to mind when you think of
smocking? Do you think of your grandmother making a precious baby gown for
a new arrival in the family? Do you think
of the sixties and seventies when smocking was a fashion accent for a flower child
headed to Woodstock? Or, do you think of a
beautiful form of needlework that you have
always wanted to learn? If you answered
yes to any of these questions, then you
probably already know a little something
about smocking.
Smocking originated during the Middle Ages
in Europe. It was most popular in England,
Germany, France, and Italy, however, historians believe it might have originated much
earlier since “nothing under the sun is new
in the world of fashion,” according to one of my favorite
clothing and textile design professors at Western Kentucky
University. The word “smock” actually has two meanings:
a verb meaning to gather or pleat with a variety of embroidery stitches, and a noun referring to a work garment worn
for ease of movement.
Smocks may have been worn originally by women in the
Renaissance period but transitioned to men’s fashion in
the 1700s for those who worked in the fields as shepherds,
wagon drivers, or woodsmen. The smocking pattern on
the garment depicted the workers’ occupations with images such as wagon wheels, shepherd crooks, or trees and
leaves.
Although smocking began as a style for adults, it took a
turn toward children and infants in the late eighteenth and
early nineteenth centuries. It is most commonly seen in
English children’s books that illustrate children frolicking in
52
the countryside.
If you have an interest in smocking, whether
it is to learn, strengthen your talents, or
satisfy some curiosity on the subject, then
you must visit Children’s Corner of Nashville.
Two delightful ladies named Susan Whitman and Sonya Webster co-own the lovely
boutique where smocking is a respected
tradition combined with a new twist of style
and fashion. While Children’s Corner has
been in business for thirty-one years, Susan
and Sonya purchased the boutique six years
ago. Before purchasing the boutique, Susan worked in the shop for the previous six
years as a seamstress and teacher, and Sonya
frequented the Children’s Corner as a loyal
customer.
Together, Susan and Sonya offer a variety of smocking
classes for ladies in their early twenties to those in their mid
eighties. Many of the ladies are expectant mothers who
are learning to create heirloom pieces for their new arrivals, and some of the ladies are great-grandmothers who are
creating a baby gift that will be cherished for many years to
come.
When a visitor steps through the door of Children’s Corner, the fresh and friendly atmosphere is inviting and lively.
Children’s Corner is one of the area’s largest suppliers of
fine imported fabrics and trims, including: Fabric Finders,
Free Spirit, Mary Butler, Michael Miller, Pima, and Swiss Batiste. There are friendly faces and happy smiles as customers and employees browse for fabric, notions, patterns, and
up-coming class schedules.
If you are just learning about smocking, you may be asking
yourself how smocking can be trendy or stylish after read-
SOUTHERN GOOD LOOKS � SMOCKING
ing about Mona Lisa and shepherds. Think back to the seventies, if you remember
those days. Do you remember the smocking on tunics or peasant blouses? Take
a stroll through one of your local department stores or ladies’ boutiques this week
and you will see smocking on a variety of tunics and blouses in both the junior and
misses departments. Remember, nothing under the sun is new in the world of fashion. As in the late sixties and seventies, once again, smocking is a trendy, fashionable statement.
Susan comments, “There has been an obvious resurgence in the world of smocking
in both children’s clothing as well as young adults’ clothing. We want to help keep
this talent alive by offering a pathway for learning and strengthening skills.”
The return of smocking has created new and unusual uses for the art. “Smocking
does not have to be formal like we used to think of it,” says Susan, continuing, “It has
a variety of looks today.” Young ladies planning weddings are using smocked pieces
for their ceremonies, particularly the unique heirloom garters handmade by Susan.
Not only is it seen in children’s and infants’ clothing, but it can be seen in lingerie,
blouses, scarves, headbands, and even pet accessories. Yes, even for your precious
pooch!
Children’s Corner offers smocking classes on Tuesday and Thursday evenings and
daytime sewing classes that meet Monday through Thursday. Classes include basic
construction of a garment, beginning smocking, pattern altering, and heirloom
French hand sewing, just to name a few. Sonya explains, “There are five instructors
who teach our classes on a regular basis. The instructors, as well as the students,
range in age from mid thirties to mid eighties. We even have some students who
are in their early twenties. Some of the students have been sewing with each other
for twenty years.” The owners smile as they share how much fun their students
and teachers have during their classes. Sometimes the students and teachers even
share potluck dinners to socialize outside the classroom setting. Sonya comments,
“It is just as much a social outlet for the ladies as it is a learning opportunity.”
Through the boutique’s newsletter Susan and Sonya reach over 5,000 people who
enjoy reading what’s new in the heirloom-sewing world. They typically send over
20,000 e-mails about their up-coming classes. Three times a year, Children’s Corner
hosts a sewing school. “The instructors for these select classes are from all over the
word,” informs Susan. These are three-day courses wherein each student completes three different garments. “We are very fortunate to offer a variety of learning
opportunities for our customers,” says Susan, who notes that out-of-state students
are among those eager to register.
Internet blogs and facebook have affected the interest in smocking, quilting, and
sewing. “I recently took a sewing class at the Frist Center where I met young mothers in the class who manage their own smocking blogs and websites. It is a changing world,” remarks Susan, who attends educational courses with Sonya in order to
stay on the cutting edge of styles and trends. Susan adds, “Artists are able to share,
educate, and learn about these talents now more than ever before in our world. It is
amazing what these advancements in technology have done for these traditions.”
Perhaps Mona Lisa’s smile is no mystery after all. Could she have known in 1506
that she was making a fashion statement for us to follow for many, many years to
come? Maybe she already knew that nothing under the sun is new in the world of
fashion!
For more information, please visit HYPERLINK
“http://www.childrenscornerstore.com”www.childrenscornerstore.com
Children’s Corner
53
PAST REVISITED � MARK TWAIN
True
to
Twain
An Interview with
Robert Hirst
On April 21, 1910, Samuel Langhorne Clemens, the
unmatched Mark Twain, died and left his work behind
him, though he never seemed to slacken his hold on life.
The Missouri man still tops summer-reading displays
and walks down both American and international streets
in book bags. Now, one hundred
years
later,
Twain’s
request
that his autobiography remain
unpublished ‘til he becomes a
cemetery centenarian is fulfilled.
Robert Hirst
54
Well-reads of the twentieth century have seen renditions
of the autobiography, particularly all or one of three
incomplete reorganizations from industriously heavyhanded editors who each distrusted, and rejected,
Twain’s unconventional approach to form. Somehow,
Twain’s time-honored way of crafting and fitting stories—
from news stories and short stories to novels—did not
automatically kindle the confidence in his authorial
intent essential for editorial sleuthing and publishing,
leaving Twain’s stylized telling of his own life unread.
Yet, this November, before the close of the centennial
year, University of California Press releases the key
edition, restored to the author’s liking by those who
gather and unravel all things Twain at the Mark Twain
Papers & Project, an archive and editing board inside
Berkeley’s Bancroft Library. The edition is simply titled
Autobiography of Mark Twain.
An interview with Robert Hirst, general editor of the
Mark Twain Papers, reveals much about Mark Twain
the man, his papers, and the process of squaring the
two, a complex undertaking that quite possibly made
the one-hundred year interim seem more like a slim
deadline than a lengthy withholding. Hirst explains, “The
Autobiography manuscript has been here since 1949,
when it came with the original deposit of Mark Twain’s
papers, a gift of his daughter Clara. Editors and scholars
have been puzzling over it more or less all that time. Our
editorial crew began intensely focusing on it about five
years ago.”
SIM: Where is Twain’s request for a 100-year
gag order documented? And what is the tone
and character of his request: a suggestion? A
mandate? A legal issue?
Hirst: The specific number of 100 years is not spelled
out in the autobiography manuscript itself, and indeed
on one or two occasions in that manuscript Mark Twain
specifies fifty years and 500 years! In the “18 June 1906”
dictation, for instance, he says:
Let me consider that I have now been dead five
hundred years. It is my desire, and indeed my
command, that what I am going to say now shall
not be permitted to see the light until the edition
of A.D. 2400. At that distant date the things
which I am about to say will be commonplaces of
the time, and barren of offense, whereas if uttered
in our day they could inflict pain upon my friends,
my acquaintances, and thousands of strangers
whom I have no desire to hurt, and could get me
ostracized, besides, and cut off from all human
fellowship—and the ostracism is the main thing.
I am human, and nothing could persuade me to
do any bad deed—or any good one—that would
bring that punishment upon me.
I think that gives the flavor of what he has in mind.
The figure of 100 years, however, is something that
he frequently referred to in interviews and in letters
to his publisher as early as 1898. In a 1900 letter to
his publisher, George Harvey of Harper Brothers, he
referred to the autobiography as “the 100-year book,”
and in another letter to him he agreed to an informal
arrangement giving Harvey right to publication “of my
memoirs 100 years hence” (when, of course, both men
would be dead). So the embargo on publication is not
a legal matter; it does not come up in his last will and
testament. The essential requirement was therefore
never literally one hundred years. (Until, that is, modern
news outlets and publishers got hold of what seemed an
irresistibly juicy “hook”!) The requirement of posthumous
publication, especially during its composition, was simply
that Mark Twain not be alive when the complete text was
published, and that has turned out to be the case without
anyone’s specifically intending it. But the embargo was
really only something like “not until a long time after I am
dead,” say 100 years.
SIM: As the first of three volumes, are you
at liberty to reveal any opinion as to which
installment carries most of the tabloid
blockbusters some crave to read—notes on
religion, politics, “angelfish,” Ms. Lyon?
Hirst: No one should expect salacious revelations about
Isabel Lyon (his secretary), the angelfish, much less Mark
Twain himself. That simply isn’t what the autobiography
contains, even though Mark Twain’s original ambitions
were to tell everything he could, including shameful
things, without reservation. He soon found that he was
not the confessional kind of autobiographer and openly
admitted so in the text itself. On April 6, 1906, Twain said:
I have been dictating this autobiography of mine
daily for three months; I have thought of fifteen
hundred or two thousand incidents in my life
which I am ashamed of, but I have not gotten
one of them to consent to go on paper yet. I
think that that stock will still be complete and
unimpaired when I finish these memoirs, if I ever
finish them. I believe that if I should put in all or
any of those incidents I should be sure to strike
them out when I came to revise this book.
55
Elsewhere, he explained, “You cannot lay bare your
private soul and look at it. You are too much ashamed
of yourself. It is too disgusting.” And he said much the
same to interviewers in 1899: “The man has yet to be
born who could write the truth about himself.” The
dictations that he embargoed for 500 years (referred to
above) are frank expressions of his heretical views on
religion, but as he says, by the time they are published
they will seem inoffensive.
No, the interest of the autobiography is not in revelations
suitable for the tabloids. It is in the irresistible pleasure of
hearing Mark Twain talk, without the usual, conventional
restraints, about anything at all that occurs to him—family
reminiscences, thoughts about some of his enemies (Bret
Harte, James Paige), the events in today’s newspaper,
memories of all kinds prompted by just about anything
you can imagine (and some that you probably can’t
imagine). Much of what we publish in volumes two
and three will be unfamiliar even if not literally hitherto
unpublished, but its appeal and its power to entertain
and delight us comes about not because it is scandalous
or risqué, but because it is honest and brilliantly, always
brilliantly expressed.
SIM: Over 800 pages, can you speak to the
ratio of previously unpublished material
vs. general knowledge vs. editors’ notes in
volume one?
Hirst: We estimate that only about 10% of volume one
has never seen print before. Roughly speaking, about
two-thirds of the book contains the autobiography text
itself, or texts of Mark Twain’s early experiments in writing
it (starting in 1870 and going up as far as 1904, when he
settled on dictation as the mode of composition). The
remaining third includes a fifty or sixty page introduction
and then there are the explanatory notes in the back,
designed to help any reader find his way when unfamiliar
things are being talked about. (These notes are, as I say, in
the back of the volume, keyed by page and line, so no one
has to read them who doesn’t want to.) Because we’re
publishing simultaneously in print and on-line through
marktwainproject.org, all of the really technical stuff about
how the editors decided between variant readings and so
forth appears solely online. One result of that is that there
is much more of Mark Twain’s text than there would have
been if we had followed our traditional model.
SIM: Is the Autobiography the only work
Twain dictated?
56
Hirst: The only other literary work Mark Twain ever
dictated was An American Claimant. He wasn’t happy
with the process then. It took a special combination of
accurate and sympathetic stenographers—basically a
good audience!—for dictation to come to the fore as the
method of choice for the autobiography.
SIM: How is the organization of Berkeley’s
edition true-to-Twain? More clearly, how did
you go about learning the author’s intent,
especially with regard to organization?
Hirst: Mark Twain says that in 1904 he discovered the
right way to create an autobiography:
[S]tart it at no particular time of your life; wander at your
free will all over your life; talk only about the thing which
interests you for the moment; drop it the moment its
interest threatens to pale, and turn your talk upon the
new and more interesting thing that has intruded itself
into your mind meantime.
Our edition follows what Mark Twain wanted by
understanding how things fit together and when they
were made. We found, recognized, and used nearly a
dozen pages of handwritten manuscript prefaces which
Mark Twain had created as the beginning of the final
form—including a title page, prefaces to earlier (failed)
forms that he wanted to begin with (to show what didn’t
work for him), and so forth. Gets a little complicated!
But these documents together with a very detailed and
exhaustive study of the physical evidence in the existing
typescripts (typed dictations) showed us that there
were actually three and sometimes four different typed
versions of many of the dictations made in the first six
months. These had to be distinguished physically by
style of typist, paper, etc. and then we had to understand
which of them was copied from which. We now know
that what we call TS1 (typescript 1) was made from the
stenographer’s notes, and TS2 and TS4 were separately
typed copies of TS1 made after it had been revised. This
multiplicity of typed copies had always been a puzzle
even to the editors, who before we began had considered
the autobiography unfinished and somewhat chaotic. It
turned out that it was finished. Mark Twain had decided
precisely how it should begin, how it should proceed
through the dictations made between January 1906
and 1909, and also where and how it should conclude.
Believe me, it was a big day around here when we
realized that Mark Twain’s last major literary work was
in fact fully organized by him, and that it was finished—
something we had not suspected, and that I think all
readers of Mark Twain have reason to be happy about.
SIM: What is it like to work as an editor for a
posthumous presence that is very clear and
direct in manner and yet also enigmatic?
How does editing the Autobiography
compare with editing Twain’s other works
and ephemera?
Hirst: Editing Mark Twain’s works and his papers has
always been great fun. He is, as you say, “very clear and
direct in manner,” while being ultimately unexplainable,
in other words, a genius. One of the great gifts of the
Mark Twain Papers (his archive) has been that it’s so full
of records, drafts, notes, etc. that there is actually quite a
bit we can and do learn about how he wrote things, how
he revised them, and so on. Of course finding what his
opinion or preference was always helps to interpret the
wishes of the dead, as it were, always a risky business.
But by leaving behind him all this documentation he
has made the task of fulfilling his literary wishes much
more possible than it would otherwise have been. There
are many other aspects of editing his papers—including
our continuing to find letters and manuscripts not in
the original deposit made here in 1949. We still find on
average two new letters a week. And for things like his
writings for the Virginia City Territorial Enterprise, some
of the best things he ever wrote, the challenge is to find
either copies of that newspaper (very rare) or copies of
newspapers that reprinted his work at the time (rare, but
not quite as rare as originals). This happens to be an
ongoing project of mine, which has, so far, recovered
what we estimate is only 20% of what he wrote.
In brief, this is all great fun for an editor (not a literary
critic). The challenges are never-ending, and the
rewards—as with the Autobiography—are enough to
make your entire day, if you see what I mean. I think all
of my editors would agree that we are privileged to be
able to do this kind of work and also pay the bills. Thanks
to more than forty years of support from the National
Endowment for the Humanities (NEH) and from donors
who give us the other half of NEH’s matching grants, we
had experienced editors free to devote their time and
expertise to that problem, and to solve it.
Commemorative Musings
from Career Twain Heads:
Two happenings more than sixty-five years ago led to my initial interest in Mark Twain. On my ninth birthday
I was given a copy of The Adventures of Tom Sawyer, and about that time my parents took me to see the
movie The Adventures of Mark Twain in which the title role was played by Frederic March. We did not see
many movies in those days, as we had to drive in to town from the country, but that one we did see, perhaps
because of my enjoyment of Tom Sawyer. I thought it was the funniest book I had ever read, full of delightful
scenes—some of them scary, ‘tis true, but safe enough, since they were in the pages of a book and pages of
solid type at that. Unlike the first edition—it would be years before I saw one—my copy had no illustrations,
except the two on the dust jacket. My imagination had to supply the rest. My enjoyment was evident from
the fact that I did something I had never done before and would not do again: I cut little slips of paper and
put them in the book to mark what I considered the very best scenes, though oddly enough these did not
include the whitewashing of the fence, surely one of the best-known scenes in American fiction. Having
enjoyed Tom so much, I decided to move on to Adventures of Huckleberry Finn, but it proved something of
a disappointment to me. I liked the first part well enough, but the middle section—the feud, the King and the
Duke, the campmeeting, the Wilks family—seemed to me to drag. When Huck reached the Phelps Farm and
Tom Sawyer arrived on the scene, my interest revived and I greatly enjoyed the last part of the novel. Little
did I know (or care, then) that the critics’ views were pretty much the opposite of mine: according to them,
the ending is pretty much a
mistake, a “chilling descent,” and it is the middle part in which the greatness of the book is most clearly
manifested.
Allison Rash Ensor, Ph.D.
University of Tennessee, Knoxville
57
I remember as a graduate student the day revered Southern scholar James B. Meriwether
announced to my Southern Literature class, “You will never experience as much joy as a
teacher as when you introduce Huckleberry Finn to a classroom.” I scribbled this in my
Riverside edition because that is the kind of thing you do in graduate school hoping some
day to test the acclamations of your idols. Fortunately, after twenty-five years of teaching I
still find my most significant and meaningful teaching moments tied to Mr. Twain’s novel. I
taught Huck for the first time in an American literature course populated by undergraduates
compelled to fulfill a general education requirement. Despite my enthusiastic attempts to
communicate that the novel was about them—about living in a culture that continues to
demand conformity, that remains racist and at times cruel, about how hard it is to develop
a “sound heart,” they seemed bored. “We know, the river is a symbol.” In a moment of real
grace, a young man raised his hand to announce that this was the novel he carried with
him and read as he fulfilled his compulsory service in the Pakastani army. He said, “Don’t
you all understand how lucky you are to read such a beautiful book?” His plea was so
impassioned that we all experienced a transformative moment. Only through the words
of this “innocent abroad” were his classmates able to reconsider a book they had taken
for granted since the tenth grade. It became new and important. They were able to hear
all the things we had been discussing about freedom—the opportunities, the limitations.
These ideas all live in this book, and it is as contemporary and riveting as it was in 1884.
Thanks, JBM and Mark Twain—it’s still a joy, every time.
Professor Sue Trout
Belmont University, Nashville
Sam Clemens (Mark Twain) immortalized the fourteen years he spent growing
up in Hannibal in Tom Sawyer and Huckleberry Finn. In the present form of his
autobiography, he remembers people, places and events that formed the basis for his
enduring fictional works. Now the complete autobiography is to be released, and the
excitement for me is palpable. Yes, I hope and expect to read specific and detailed
railings against various rapscallions of the day as our Sam Clemens addresses all
serious topics—finance, politics, religion, war, inhumanity. I also hope and expect for
a bit of gossip or scandal—who wouldn’t? But what I am most longing to read are the
mundane bits of his life that perhaps weren’t so much suppressed as simply left out
from the original autobiography because they weren’t perceived to be as interesting
as other more sensational bits. What meals did his mother prepare here in the white
frame Hannibal house? Did she have a garden? Did Sam pull weeds? What were his
favorite books and stories? What entertainment carried Hannibal children through those
ferociously cold winters? Did Sam cry when his father died? Did he miss him? How did
they celebrate birthdays and holidays? Did they celebrate? In what exact location did
young Sam sign his name in the famous cave? (I have scanned thousands of signatures
in the cave’s passageways, but I have not yet found one belonging to SLC.) What actual
conversations might he have had with Joe Douglass (“Injun Joe”)? There are many
questions, of course. He has given us details of Tom and Huck, two famous, if fictional,
boys. However, I long to learn the simple day-by-day details of one boy in particular—
Sam Clemens of Hannibal.
Cindy Lovell, Ph.D.
Executive Director of the Mark Twain Boyhood Home & Museum
Hannibal, Missouri
58
Raising Our Children On Bourbon
New Orleans…sparks an emotion in everyone who
hears the name…it’s an enchanted city! Raising Our
Children on Bourbon is the story of Bob and Jan
Carr who escaped the mundane life of mid-America
and moved to the heart of the infamous French
Quarter to raise their children among the ‘Quarter
eccentrics’ while accomplishing spectacular careers
in radio and television. Join them as they renovate
and restore a Bourbon Street mansion – passing
through one crisis after another. Laugh with them
as they relate anecdotes of encounters with celebrities: Bette Davis, Joan Crawford, Brenda Lee, Bishop
Fulton Sheen, Al Hirt, Pete Fountain, Clay Shaw,
Ruthie the Duck Girl, and more. This story depicts
the bright side of the city’s indomitable spirit as it
forges ahead and continues to dazzle visitors. Enjoy
this taste of New Orleans without the calories!
You can purchase the book online: HYPERLINK
"http://www.arthurhardypublishing.com" \t "_blank"
http://www.arthurhardypublishing.com or purchase
copies in bookstores beginning November 1.
“Thanks Bob and Jan for sharing with us newcomers the beloved
New Orleans in this heart warming and hilarious tale of life in the
French Quarter.” Peggy Gaines ,Southern Inspired Magazine
For information, interviews or bulk purchase pricing,
contact: Arthur Hardy 504-913-1563 or HYPERLINK
"mailto:[email protected]" \t "_blank" [email protected]
60
SOUTHERN SEEN � CAMEO SISTERHOOD EVENT
August Meeting of the Cameo Sisterhood
Members of Southern Inspired’s Cameo Sisterhood met for
an evening of insight and friendship when the Lost Boys
Foundation of Nashville opened its art gallery for a special
showing on August 19, 2010. Lost Boy artists escorted the
Sisterhood through their extensive collection of paintings,
masks, sculptures, and pottery—including in-progress pieces
still cloistered in the back studio—to explain the stories and
traditions that guide craftsmanship. The end-of-summer
event gave readers the opportunity to interact with the
honored refugee community, previously represented in
Southern Inspired’s April/ May issue.
1
1. Hand-crafted cow ornaments by Lost Boy Gabriel Wal,
a featured artist in Southern Inspired’s April/ May Issue
2. Lois Moreno, president of the LBFN board, Claire
Ploegman, managing editor of Southern Inspired
Magazine, and Chol Garang, Lost Boy artist and vice
president of the LBFN board
2
61
SOUTHERN SEEN � L’Et’e du Vin Auction 2010
L’Eté du Vin Auction 2010
Shimmers of cheers-ing and flutters of bidding filled the Vista Ballroom of Nashville’s Hutton Hotel
through the evening and into the night on August 28, 2010, as charitable attendees raised their glasses
and auction paddles to good health, snubbing cancer in all its forms. For thirty-one years L’Eté du Vin’s
grand auction has crowned a collection of summertime wine events bringing a boon to initiatives
such as the American Cancer Society, Vanderbilt-Ingram Cancer Center, and Gilda’s Club. May’s
floodwaters had postponed the original auction date, yet L’Eté du Vin rose above like a triumphant
bottle on the waves, and seventeen of Nashville’s finest restaurants catered a feast of complements.
1
3
2
5
6
7
4
9
8
62
SOUTHERN SEEN � L’Et’e du Vin Auction 2010
10
11
1. Michelle Cortright and Jessica Tsourmas
2. Kevin Campbell, Julie Boswell, Nicole Matchett, and Chad
Scarborough
3. Laura and Adam Wilczek
4. Ira and Nancy Chilton
5. Mike and Martha Hueneke
6. Roxanne and Art McDonald
7. Joyce and Mace Rothenberg
8. Jennifer Pietenpol and Barbara Presogna
9. Dr. and Mrs. Jason and Emily Hubbard
10. Dr. Michael Gold with daughter, Ilissa, and wife, Cindee
11. Mark Whaley, Taylor Guardino, and Holly Whaley
12. Brenda Bernards, Hoyt Hill, and Dan Smith
13. Sara and Richard Bovender
14. Starr Chapman and Ron Fontecchio, representing Chappy’s on
Church on what native New Orleanian Starr calls “K5 Eve,” or the day
before the fifth anniversary of Hurricane Katrina
15. Chairs Diane and Sam Madison-Jammal
16. David Kazmerowski and his wife, Barbara Browning, make their way
through the silent auction
12
13
15
16
63
SOUTHERN SEEN � BANANA PUDDING FESTIVAL
Hickman County Banana Pudding Contest
Photos by Dale Hurren
1
2
A favorite season for many, fall brings bonfires,
apple cider, tailgating, piles of leaves to frolic in,
and, for the first year ever, the National Banana
Pudding Festival. In preparation for the inaugural
event, Bon Agua United Methodist Church
set the stage for the regional competition on
the warm summer afternoon of August 21,
2010. Bon Agua pudding enthusiasts gathered
to judge the best banana pudding in Middle
Tennessee. Winner Glenda Lovell will compete
in the national competition held during the first
weekend of October at the Hickman County
Agriculture Pavilion. Proceeds benefit the local
Red Cross—so make the little trip to Centerville
to support your region and your waistline!
4
3
5
1.Judges (left to right): Maria Casto, Sheila Wooten,
Nancy Roland, Kay Smotherman, and Carol Chandler
2. The winning pudding
3. Glenda Lovell, a surprised, elated winner
4. A judge’s plate
5. Guests await the judges’ tasty ruling
64
Ann Taylor Loft
Sumn
e
r
Best PCounty’s
lace
t
o
Nashv Take
ille Fr
iends
– Rea
de
Aveda Natural Oasis Day Spa & Salon
Barnes & Noble
Bath & Body Works
Bath Junkie
Brixx Wood Fired Pizza
Hend rs Choice
ers
,
Star onville
News
Buffalo Wild Wings Restaurant
C. J. Banks
Caché
Candylicious - A Candy Store Extraordinaire
Chico’s
The Children’s Place
Christopher & Banks
Coldwater Creek
David Parker Shoes
Francesca Collection
The French Shoppe
Gymboree
Icing by Claire’s
Jos. A. Bank
Justice
Lane Bryant/Cacique
Marble Slab Creamery
Mimis Cafe
NY & Co.
Peek-a-boo Playtown
Portrait Innovations
Qdoba Mexican Grill
Rack Room Shoes
Red Robin
.c
om
Regal Cinema
Sam’s All American Sports Grill
September’s Restaurant
ke
Sunglass Hut International
la
Talbots
an
Venetian Nail Spa
in
di
Victoria’s Secret
ts
of
Yankee Candle
w
w
w
.s
tr
ee
COMING SOON!
Property managed by Inland American Retail Management LLC
The Inland name and logo are registered trademarks being used under license.
300 Indian Lake Boulevard
Hendersonville, TN 37075
Vietnam Veterans
& Indian Lake Boulevard
5th Avenue Salon
Kohana Japanese Restaurant
Scottrade
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