Categories
We Recommend We Recommend

A Fine Romance?

When native Memphian Joan Williams died in 2004, she left behind five novels (one a National Book Award finalist) and one short-story collection — work that, with the exception of two early stories, she produced after 1953. The year is significant, because it’s the year Williams ended her romantic involvement with William Faulkner, a man who, when the two met in Oxford in 1949, was 31 years Williams’ senior and married. The exact nature of that relationship is explored in William Faulkner and Joan Williams: The Romance of Two Writers (McFarland & Co.) by Lisa C. Hickman.

The book is in many ways a ground-breaker: It draws on unpublished letters between Williams and Faulkner; it draws on information supplied by the psychiatrists who treated Faulkner at Memphis’ Gartly-Ramsay Hospital; and it draws on the willingness of Williams to talk openly of these years — years that she feared overshadowed her subsequent writing career.

As Hickman writes in the Preface, “Joan often, and rightly, felt she struggled more for recognition because of her relationship with Faulkner, that her talent somehow was dismissed because of their association.”

Hickman, who teaches writing and literature at Christian Brothers University, is on the record too. In an interview in the January issue of Memphis magazine, she explains: “It’s tiring to point out over and over Joan’s literary legacy and then have someone reduce it to ‘Didn’t she have an affair with William Faulkner?’ It’s that sexism that I find extremely trying. … It is past time for Joan Williams to assume her rightful place in the distinguished roster of Southern women writers.”

Booksigning and reading by Lisa C. Hickman at Square Books, Oxford, Thursday, January 25th, 5 p.m. (662-236-2262)

Categories
Living Spaces Real Estate

The Dyson DC14 “Animal”

I don’t hate vacuuming. But I do hate when I have to clean something that my vacuum is inadequate for or when I have to frequently empty the vacuum or buy new bags.

The Dyson DC14 “Animal” promises to correct these typical complaints. On a recent test drive, I found it to be as good a vacuum as I’ve used, though perhaps it doesn’t entirely live up to the expectations I had, seeing as how it claims to be “the most powerful upright for pet hair.”

The Dyson has lots of little features and characteristics that take some time to get used to but that are very handy once you do get the hang of them. For example, the leading edge of the main floor component is too low to the ground to suck up larger pieces of refuse, such as dried cat food. But by briefly positioning the handle of the vacuum vertically, the base angles upward to allow room for any large bit of dirt to get sucked up.

The vacuum also comes with many attachments and a telescoping, easy-to-maneuver arm for cleaning up high and on furniture. The hose to the arm extends 17 feet, so you can easily vacuum stairs without having to deal with a bulky base.

The crevice tool is the best I’ve ever used. It’s slanted, so when vacuuming behind and in between couch cushions, you don’t have to bend or strain your back to reach down deep. It also has a second opening on the side of the attachment. If the main opening is blocked, it can still suck in dirt.

It also has an attachment with stationary brushes surrounding the opening for dirt. If you’ve put some kind of cleaner on the floor that needs to be rubbed into the surface, let the vacuum do the rubbing.

Marketed as being a beast on animal hair, on this count, at least, I had disapointing results. The Dyson has an attachment with a spinning brush to pick up animal hair, and I found that it was more effective if you don’t push down hard on the implement. (The brush spins faster if it’s not being blocked by the upholstery you’re trying to clean.) The vacuum cleaned 95 percent effectively, but it left behind some of those hairs that act as if they’re sewn into the fabric. I suppose nothing on earth can get those out.

On a flat expanse of hardwood, the sucking action is strong enough to compel dust bunnies and lighter dirt toward it even when the vacuum is still several inches away. (My pets, on the other hand, were compelled to flee the scene.)

The machine’s design is attractive, and it’s easy to use once you get the hang of it. It’s got some heft to it, which I like on a hardwood floor. The exertion needed to push it across carpeting may be greater.

One great feature is how you empty the chamber of dirt. The vacuum collects the dirt in a see-through compartment. When you’re ready to empty it, release the section from the vacuum, hold it over your trashcan, and push a button to make the bottom open, spilling the contents into the waste bin. Your hands never get dirty. Since it doesn’t require bags or filters (it has a lifetime HEPA filter), over the long haul you’ll save money on the vacuum, which sells for $549.99 at www.dyson.com.

Despite its few instances of underwhelming performance, the Dyson DC14 “Animal” is still the best vacuum I’ve ever used, taking into consideration the functionability, ease of use, and price. You may not look forward to vacuuming, but you’ll certainly enjoy how clean it gets your home. ■ GA

Categories
Living Spaces Real Estate

Number One

All due respect to the King’s Graceland, but Beale Street — with its significance as ground zero for the blues throughout much of the 20th century — is the premier cultural/real estate spot on the Memphis map. And at the foot of Beale is that other prominent component of Memphis’ history: the Mississippi River. A new development set to break ground is capitalizing on both in a manner unprecedented in the city’s history. For a town as wild and wooly as the Bluff City, anything that happens that can be described as “unprecedented” is worth a closer look.

The development is One Beale, the brainchild and soon to be very real building from the Memphis-based Carlisle Corp. It will stand overlooking the intersection of Beale Street and Riverside Drive, called by Chance Carlisle, director of special initiatives for Carlisle Corp., “the gateway to downtown.”

The location of One Beale was selected because “it’s a corner deserving of something of stature. It showcases where Memphis is headed and pays respect to where it’s been,” Carlisle says.

But what is One Beale? It’s a little bit of everything. The $175 million project is one of the biggest condominium buildings in the city in addition to housing a large upscale hotel, Class A office space, a retail and dining center, and a spa and fitness center. It’s a rocketship of a building, a two-tower steel behemoth with an insistent finger of glass improbably shooting up and enveloping the north tower’s body. It’s One Beale, and the Memphis skyline will never be the same again.

Earlier this month, Carlisle Corp. announced the teams who will design, construct, and market One Beale. Among them are a number of Memphis-based companies: Architecture firm Hnedak Bobo Group is designing the development. Hnedak Bobo is responsible for FedEx Express World Headquarters, Clark Opera Memphis Center, Peabody Place, the Main Street Trolley, and the Lofts at South Bluff. Paradigm Productions will market One Beale, and Martin Group Realty will sell it.

Artist Rendering Courtesy of Paradigm Productions

For all of the hoopla and bated breath surrounding One Beale, it’s still just a muddy patch of land right now. “We’re making significant progress each day to take condos to market,” Carlisle assures. “We anticipate releasing units this April.”

How many units need to be sold before ground will be broken is still in discussion, Carlisle says. “We haven’t decided what that number is, what’s reasonable for us and for the lenders.” Nevertheless, Carlisle is confident the development will break ground late this year or early 2008.

One of the main components Carlisle Corp. is involved in right now has to do with the mix of condominium sizes and prices. Overall, there will be 130-145 units. Condos will range from 1,500 square feet to 10,000 square feet, selling for $550,000 up to several million dollars. “That’s a wide benchmark,” Carlisle admits. But the bulk of units will run $750,000 to $1.2 million.

One Beale features two towers, one 30 stories tall, the other 34 stories high. There’s a common misconception that the hotel component of the development will take one tower, with condos housed in the other tower, Carlisle says. But it’s not true, he adds. The hotel and office space will be situated in the lowest floors of each tower, across the entire development. Condominiums will start above the hotel and office space on each side and take each tower to the sky. On the shorter tower, condos will run from the 12th to the 30th floors. In the taller tower, condos will start on the 18th floor and terminate at the top, floor 34. When built, One Beale will edge out 100 North Main as the tallest building in Memphis.

Which hotel will call One Beale home is still in negotiation. But the hospitality aspect of One Beale doesn’t stop with the hotelier. Whichever hotel partners with Carlisle Corp. will bring with it its own restaurant. There will also be another restaurant, a 4 to 5 star destination to complement the city’s already fine dining. There will be a bakery/coffee shop, retail space, and a big lobby bar overlooking the Mississippi River.

Additionally, One Beale will have a destination spa on the 10th floor. This spa will be open to the public and hotel guests; condo owners will be granted full access. The spa will feature individual treatment rooms, workout facilities, and swimming pools. Swimmers can get wet over 100 feet above the Mississippi River.

One Beale hasn’t been without its detractors and doubters. The development trod a long path before being granted city approval. It faced opposition from residents and owners of Waterford Plaza and the Candy Factory condos, two neighboring developments that stand to feel the effects of One Beale’s footprint. The development was approved by the City Council in October 2006, with some compromises made by the city with regard to neighbors’ objections.

Other concerns have to do with the downtown Memphis real estate market and its ability to support One Beale in light of so many other projects built in the last decade.

Artist Rendering Courtesy of Paradigm Productions

One Beale makes the Memphis of the future look sci-fi

Carlisle responds that there’s a flaw in such thinking: One Beale can’t be compared to anything else on the drawing board in Memphis. “We’re in a different market,” he says. “It’s a step above any proposed or current building. It’s ambitious, and we think the city is ready for that and demand it. The Memphis market is fully capable of supporting One Beale. It’s a development buyers have wanted.”

Carlisle also shrugs off the market slowdown during the last quarter. “It’s tough to use recent history as a comparison,” he says.

“We think One Beale is the next progression in downtown urban living for Memphis,” Carlisle says. “People demand to have a luxurious life on the Mississippi River and downtown. You have all of the services of a hotel and the benefits of having a pampered lifestyle,” Carlisle says, citing condo owners’ spa access and the use of the hotel’s room-service menu as examples.

“If that’s not something that interests you, you can also have a great kitchen with an unrivaled view of the river. If all that sounds good to you,” Carlisle adds, “you call it home.”

“Nobody has quite the advantage that One Beale is going to have,” says Regina Bearden, vice president of marketing with the Memphis Convention & Visitors Bureau.

The hotel promises to draw more visitors to Memphis and more dollars for local businesses. It will also make Memphis more attractive for large conventions. “Anytime you add room inventory in Memphis, especially downtown, it assists us … as we’re trying to build conventions,” Bearden says.

It’s the number-one new development on the horizon in Memphis. If it’s as successful as it promises to be, things are looking up Memphis and its skyline. ■

Categories
Art Art Feature

Back and Forth

In a recent phone interview, Jerry and Terry Lynn, identical-twin artists who paint together as the singularized “Twin,” spoke of their Southern roots, religious faith, and some 21st-century challenges, including the havoc caused by Hurricane Katrina and the violence in Darfur. Their new exhibition, “Twin: Paintings & the Story” at the David Lusk Gallery, bears witness to the ongoing struggles of humankind.

At first glance, the acrylic on canvas At the Sea looks like a group of Creole women dressed in white gowns and turbans standing at water’s edge performing the rite of baptism. But the acidic yellow sky looks rancid, a dark red sea is filled with rust, earth, and/or blood, and dead tree limbs reach across the top of the painting. In Twin’s apocalyptic landscape, the baptizers stand at the edge of a dying world.

Paint jabbed, impastoed, and flung across the top of The Journey: Refugees explodes above seven men and women, all in profile, who appear to move slowly, resolutely across the bottom of the painting. A patchwork of color becomes the hats, shawls, skirts, and shirts of this line of refugees whose will to go on in spite of chaos makes this poignant image a reminder of the more than 20 million people displaced in the world today.

The artists build complex metaphors and rich narratives in this body of work. For instance, in their retelling of the Genesis creation story, In the Beginning: Early Morning, a small white building that represents the church the artists attended as children (a recurring motif in Twin’s paintings) also looks like a medieval castle. Clouds surrounding the fortress-like church look heavy, pregnant with moisture. The aerial perspective, somber colors, fortress, and stormy sky depict a cosmos full of cataclysmic energy and mystery reminiscent of El Greco’s View of Toledo. As a final touch — one that feels free of satire or kitsch and full of respect for the unadorned power of the rustic — a large black rooster in the foreground stands guard over the primeval scene.

There are masterful passages of understatement in Twin’s paintings as well as images that roil. In The Temptation, another work based on a story from Genesis, tiny flecks of white and touches of umber on a scumbled brown background successfully suggest the stubble of a cotton field, the face/turban/bodice/skirt of a woman, and the shirt and trousers of her companion. Ousted from Eden, these two minuscule figures walk across a stark, barren world.

Women dressed in long white dresses have served as archetypes in Twin’s paintings throughout the artists’ career. In Strength: Manna, five iconic figures stand in a field as impressionist as Monet’s haystack series. Gallery lights reflecting off collage elements (frayed bits of burlap and dried grasses) suggest a harvested field and the loose weave of the women’s muslin dresses. The dark featureless faces of the figures contrast sharply with a landscape bleached out by noonday sun. The central figure’s large frame, stooped shoulders, and muscular forearms draped across her broad, skirted thighs speak of hard work, endurance, patience.

In the Garden speaks of grace in the face of hardship. Two women dressed in wide-brimmed straw hats and long muslin gowns appear to glide across a landscape lathered with green and brown pigment and a splatter of white cotton bolls. A closer look draws the viewer into the strata of this 75-by-129-inch vision of a cotton field as Eden. It depicts the same fertile delta on which we stand.

With white paint in one hand and pink in the other, Twin poured, splattered, and looped multiple layers of pigment across the surface of Isaac’s Everlasting. There is no Isaac, no Abraham in the painting. At the center of this pink and white jubilation, a dark-skinned Sarah, dressed like a bride in the exhibition’s whitest-whites, looks full of hope and confident that life will go on.

The twins are also skilled portraitists who, early in their careers, painted large canvases of sportsmen and musicians. Instead of stylizing the figures in Trio, the artists capture the nuanced body language of three honky-tonk players, dressed in Panama-style hats and brown Sunday suits, bending over their guitars — strumming, listening, keenly aware of the sounds they are making. Shades of electric blues and smoky indigos envelop the musicians. Bits of frayed burlap and dried grasses collaged onto the surface of this huge (approximately 6-by-9-foot) painting bring to mind wooden floors strewn with debris tracked in by laborers who have come to hear music that is both a hallelujah and a wail.

At David Lusk Gallery through January 27th

Categories
Politics Politics Feature

It’s Official: Harold Ford Jr. is the DLC’s New Chair

Harold Ford Jr. won’t be head of the Democratic National Committee, James Carville’s wishes notwithstanding. The former 9th District congressman and U.S. Senate candidate will be chairman of the right-centrist Democratic Leadership Council, a private lobbying group. In fact, he is
chairman of the DLC, as of Thursday. Ford, who succeeds Iowa governor Tom Vilsack (now a presidential candidate) is “one of the brightest stars in the Democratic Party,” said DLC Founder Al From. “

“I love Jesus, I love women and I love football,” Ford told reporters on Thursday. Yes, he really did.

That last was an oblique tongue-in-cheek reference to the furor that erupted in the national media last year after a Republican National Committee attack ad that, among other things, satirized the then Democratic candidate’s attendance at a Super Bowl party sponsored by Playboy Magazine.

Ford, who was defeated in his Senate bid by Republican Bob Corker, also found time on Thursday to tout another disappointed candidate from Tennessee, former presidential contender Al Gore — but only to win an Oscar for his “Inconvenient Truth” documentary on global warming.

Oh,and Ford wants the Colts to win the Super Bowl. Indianapolis QB Peyton Manning is “a Tennessee man,” the once-and-no doubt-future statewide candidate explained.

–Jackson Baker

Categories
News

TM’s Oleanna Is Provocative, Upsetting

I’m sorry to report that it’s curtains for Theatre Memphis’ appropriately troubling and thoughtfully staged production of David Mamet’s widely acclaimed Oleanna, which closes its run on the NextStage Sunday, January 28th. The 1992 show was culturally “on time,” having debuted just after the seating of Supreme Court Justice Clarence Thomas, the subject of a very public sexual harassment hearing, and after 15-years it hasn’t aged a day. The play has been variously viewed as an indictment of the “feminist agenda,” a scathing criticism of political correctness gone amuck, and as a dark exploration of class and gender relations at the end of the 20th century. It has always been each of these things, and none of the above.

It’s easy enough to buy into the “Mamet as misogynist” theory, considering the writer’s macho, cigar-chomping image, and the horrors his male characters inflict on women in earlier scripts like the brutally brilliant Edmond, and the juvenile Sexual Perversity in Chicago. It’s not a completely baseless charge, but it’s one that completely (and unjustly) strips America’s most provocative living playwright of his complexity. Oleanna is, at its very core, a simple tragedy in the classic mold, about a person of privilege who, neither fully guilty or completely innocent, is brought low by pride and hypocrisy, and replaced by a system that will not and can not stand.

John, played with sensitivity, and explosive fury by Chris Hart, is happy with his job at an exclusive college, and in line for tenure. To celebrate that professional milestone he’s finally buying his castle: a nice house with a big back yard “for the boy.” His recently published book has proven incomprehensible to Carol, a failing student who hopes to appeal her grade. A deal is struck between student and teacher to forgo their traditional roles, and change the failing grade to an A. For John, this proves to be a deal with the devil that will rob him not only of his of his job but his dreams as well.

In the play’s first scene Lyric Peters’ Carol is an agitated bundle of confusion and impatience, unable to articulate her needs or understand anything that challenges her values. By act three she’s the angry, articulate, politically motivated spokesperson for a “group,” promising to drop all the charges she’s leveled against her teacher in exchange for the removal of his and other books from the reading list.

Are their sexual overtones in John’s words and actions? Mamet leaves it vague, and the answer can vary from show to show. In this case, however, the answer is no. Although John’s behavior may stink of paternalism and entitlement, his root intentions are basically noble and in keeping with his views as an educator. One also gets the sense that the only thing Hart’s autoamorous professor wants to feel up is his own reflection in the mirror.

Mamet’s attempts to write language as it’s actually spoken, then present it as a rigidly structured, nearly orchestral exercise can be hard on actors. Caught between the play’s hot emotion and the writer’s cold formalism both Hart and Peter sometimes stumble over one another, and lose their way. But neither ever completely lose sight of their intentions, and their committed performances keep the audience engaged even when the dialogue gets messy.

Mamet loves a good cypher, and in order to understand its intentions it’s important to understand the meaning of its mysterious title which is neither referenced or explained in the spoken text. “Oleanna” is the name of a 19th-century european folk song that, like the American hobo anthem “Big Rock Candy Mountain,” tells of a heavenly paradise where crops self-plant, “sweet beer” bubbles up from the earth, and luscious barbecued pigs walk the street asking if anyone would would like a slice of ham. In Oleanna, “the women” do all the work, and, “If she doesn’t work hard enough/ she takes a stick/ And gives herself a beating.” The point here is that there is no paradise where things are easy, and even utopian environments like the ivy-covered walls of academia, or the lost Oleanna, have a dark side. Like its closest dramatic kin, Arthur Miller’s The Crucible, Oleanna isn’t an indictment of anything or anyone but a fair, unflinching jury trial.

by Chris Davis

Categories
Film Features Film/TV

Timberlake, Samuel L. Jackson, and Christina Ricci Talk About “Black Snake Moan”

“The shoot’s funniest moment came when Timberlake hesitated before firing off a question from the teleprompter, looked off-camera and asked, ‘Can I really say all that?’ Getting approval, he gestured toward Jackson: ‘Are there any mutha f***in’ snakes in ‘Black Snake Moan?’

“Jackson repeated the question before retorting, ‘Only trouser snakes.’ JT chuckled. ‘I’ve had a few, but this is my coolest internet moment,’ he said.”

Cinematical.com has an entertaining interview with Christina Ricci, Justin Timberlake, and Samuel L. Jackson, the stars of Craig Brewer’s Black Snake Moan.

And according to entertainment blog MovieCityIndie.com, Jackson will soon be giving away 20 pairs of high-tech, MP3-playing sunglasses preloaded with three songs from the Black Snake soundtrack, and emblazoned with an image of Jackson’s purple Gibson guitar.

There’s no word as to what Jackson’s costar Christina Ricci may give away, but we’re hoping for either white cotton panties or a good length of chain.

Categories
Living Spaces Real Estate

In Focus

What does it mean to be “new and improved”?

It’s a question that’s been on my mind a lot lately in regard to the publication you hold in your hands right now, the Memphis Flyer‘s Living Spaces. You may notice a few things different about this issue, including new features and sections, making this issue a veritable “new and improved” version of Living Spaces.

But if that phrase isn’t a lie, it’s also only a half-truth. Because, with Living Spaces, we’ve tried to be “new and improved” with every issue. Memphis’ real estate market and skyline is ever-changing. The furnishings, décor, and decorator businesses in town are continually tapping into or leading the way on new trends and new ways to express old ideas. Technology improvements are altering the way we construct, improve, and find happiness in our homes. Memphis is in a constant state of aspiring to be “new and improved,” and if we didn’t reflect that in Living Spaces, we’d get left behind soon enough.

With Living Spaces, we strive to be at the leading edge of “new and improved” every month, bringing you not just the latest in real estate market news and ways to make the most of your condo or home lifestyle, as we always have done, but also to report on innovations, new products, and new strategies used by local businesses and our neighbors to help make Memphis “new and improved.”

That’s reflected in new features such as Neighborhood Network (p. 4), where the focus will be on community and neighborhood news and how individuals, private groups, and public administrations are doing their part to make the Mid-South a better place.

It’s reflected in User Friendly, where a product is rigorously tested to see if it’s everything it claims to be and to report on any problems we experience with it. This month is the Dyson DC14 vacuum cleaner. Does it make your floors and furniture look new and improved? Check out page 6 for the answer.

It’s also reflected in Fine Print, a review of books pertaining to home and garden — real estate, home improvement, decoration, or related fields. There are a lot of books out there claiming to have all the secrets. We’ll try to pull the weeds out and find the good ones.

Our goal is to help you make the most of your own living space, to make it each day a new and improved version of the day before. We’d love your help, of course: If you’ve got any tips, news or events, suggestions, or comments, please let us know at LivingSpaces@memphisflyer.com.

Greg Akers

greg@memphisflyer.com

Categories
Editorial Opinion

Juvenile Justice

Whether it’s the inevitable effect of a party-line shift on the Shelby County Commission, which went from a 7-6 Republican majority to a 7-6 Democratic majority after last year’s quadrennial elections, or it’s a matter of purposeful effort on the part of new members, race-consciousness has returned to the commission’s front burner. (See also this week’s)

Not that it was ever wholly absent. Any number of issues before the commission in the last decade or so have been affected, at least implicitly, by the issue of race. For starters, there is the matter of school construction — and disagreement between blacks and whites (aka Democrats and Republicans) over how city and county systems should be governed and funded. Another racially tinged issue, dormant for the moment but a raging controversy during the last several years, was that of privatizing the county’s correction facilities.

But justice, and the question of whether it is dispensed equally and equitably, is at the core of explicitly racial concerns that haven’t been so directly addressed on the commission since arguments over redistricting preoccupied the body more than a decade ago.

The focus of recent discussion has been the matter, which simmered after last summer’s countywide general election and came to a boil with the swearing-in of the new commission, of whether there should be a second Juvenile Court judgeship. That probably wouldn’t have been an issue had anyone other than Curtis Person — a respected longtime state senator, a white, and a Republican — won in a field in which three prominent African-American and, presumably, Democratic candidates canceled out each other’s votes. The fact that Person had served as a part-time court administrator for several years (and thus could be identified by critics with its practices) exacerbated matters, as did the question of racial inequities in the administration of juvenile justice.

Though support for the candidacy of last year’s court runner-up, former U.S. attorney Veronica Coleman, is part of the reason for the current controversy, race has become the overriding issue. There is no denying that black youths predominate before the court, that their cases are disproportionately remanded to adult courts, and that, as was recently disclosed, suburban white youths have often had their own cases diverted to alternate and presumably milder handling outside the court’s jurisdiction.

This situation is but the tip of the iceberg, say several of the commission’s black Democrats, some of whom are demanding both a federal investigation of the court and a command appearance before the County Commission by Judge Person, who, for his part, has promised to address all concerns if permitted to do the job he was elected to do. The commission’s Republicans, who tend to be Person’s defenders, balk at what they consider the peremptory nature of the summons.

Meanwhile, a decisive vote on the issues of a second judgeship has been delayed, and, following a stormy, racially tinged debate in a committee session on Monday, so has a vote on commissioning a formal study on the court’s procedures.

While there is no doubt that the moment of truth is approaching on the issues of Juvenile Court, we hold on to the hope that racial and political comity will survive the final resolution.

Categories
Cover Feature News

The Nature of Elephants

At least six elephants are visible from my place on the grassy hilltop. Three are off in the distance, partially hidden behind the branches of barren winter trees. They look like tiny dots. But three others are less than a mile from my safe spot behind a steel fence. They’re massive, but they appear harmless, almost like giant gray cows grazing in a pasture. One even appears to be smiling, the corners of her mouth turned up in a slight grin.

Justin Fox Burks

Carol Buckley looks over the 2,700-acre Elephant Sanctuary

I’m at the Elephant Sanctuary in Hohenwald, Tennessee, about 80 miles south of Nashville. Over 2,700 acres in Hohenwald are off-limits to humans, with the exception of a handful of elephant caregivers. The land is home to 18 female elephants, all retired from years in the circus or in zoos.

Many can probably balance on a platform, bow, or perform other unnatural circus tricks, but there’s none of that here. Executive director and co-founder Carol Buckley, herself retired from circus work, has seen firsthand the abusive training methods used by many circuses and the crowded conditions at zoos. Now she wants elephants to have a place to feel free from human control.

The elephants here at the country’s largest elephant sanctuary are free to roam the valleys, hills, and grassy pastures. They eat when they want, sleep when they want, and they’re never on exhibit. In fact, the public isn’t allowed into the sanctuary. Only staff, interns, volunteers, and the occasional reporter and photographer are allowed on-site. On our visit, I wasn’t allowed to go past the fence for a closer look. Photographer Justin Fox Burks was escorted through the sanctuary on the back of Buckley’s four-wheeler.

Our trip was in response to the fact that there has been so much written in recent years about elephant populations around the world undergoing a kind of species-wide trauma. Attacks on humans have increased dramatically in the wild. From an October 2006 New York Times Magazine article: “Decades of poaching and culling and habitat loss … have so disrupted the intricate web of familial and societal relations by which young elephants have traditionally been raised in the wild … that what we are now witnessing is nothing less than a precipitous collapse of elephant culture.

Justin Fox Burks

” … [B]efitting of an animal with such a highly developed sensibility, a deep-rooted sense of family and, yes, such a good long-term memory, the elephant is not going out quietly. It is not leaving without making some kind of statement, one to which scientists from a variety of disciplines, including human psychology, are now beginning to pay close attention.”

Two’s a Crowd

Now the elephant debate has come to Tennessee. The natural, open fields of Hohenwald provide a stark contrast to the scene at the Memphis Zoo, where two female African elephants spend their days in an exhibit a little smaller than a football field. But plans are under way to give 22-year-old Asali and 43-year-old Ty a little more space by expanding into the nearby rhinoceros pen.

In the long term, zoo officials hope to build a much larger elephant space near the current site of the Northwest Passage, the zoo’s recent expansion project for polar bears and other arctic animals. Mammal curator Matt Thompson says they’d eventually like to add two more elephants.

The zoo’s plans mirror those of about 40 other zoos around the country that are expanding elephant space as more critics of elephant exhibits speak out. But a handful of zoos, in cities like Chicago, Philadelphia, Detroit, and the Bronx, are going a step further and closing their exhibits and donating elephants to larger zoos or sanctuaries or phasing them out as old elephants die off. It’s something Buckley would like to see happen at every zoo.

Justin Fox Burks

“Those zoos are taking a giant step in saying that science supports that you cannot keep elephants in the traditional captive environments,” says Buckley, who lives on the sanctuary site, caring for the elephants as part of her daily routine.

“We didn’t give any thought to [closing our exhibit],” according to Matt Thompson, who says the elephants are his favorite animal. “We’re very proud of our program. By all accounts, our elephants appear happy and healthy. I wish we had 20 of them. I wish we had 10 acres.”

The vibrant, young Asali is standing on one end of the Memphis Zoo’s elephant exhibit on a breezy Tuesday morning. Ty — older, larger, and sporting weathered skin — stands on the opposite end. Asali starts to move toward Ty, lifting her trunk as she lumbers toward her majestic elder. Ty also begins walking and as the pair nears one another, they slap trunks in what appears to be an elephant version of the low-five.

After the greeting, each elephant turns and slowly heads back to their respective sides. Ty takes a moment to punch a tire suspended from a wooden post using her trunk before heading back to her pile of hay. Playing and eating, Thompson tells me, are the way Asali and Ty spend their days.

“Zoos, in my opinion, are a necessary evil,” he says. “I wish elephants didn’t have to be kept in captivity, but unfortunately a lot of them do. Asian elephants are in big-time trouble in their native habitat, which is all but gone. We could easily see Asian elephants go extinct in our lifetime. That leaves zoos and sanctuaries to continue the species.”

Recent reports estimate that only about 60,000 Asian elephants are left, but Buckley says captive breeding isn’t the answer.

“Breeding in the U.S. has nothing to do with helping the species in the wild,” says Buckley. She points out that there’s actually a surplus of captive elephants in Asia, a result of government deforestation. (Elephants once assisted humans with logging.)

Justin Fox Burks

The Divas (Billie, Liz and Frieda)

But Memphis’ elephants aren’t Asian, they’re African, and Thompson believes that species is also in danger. He says African pachyderms are sometimes poached for their ivory, and a recent spike in elephant populations in South Africa has reopened a debate over culling, the once-legal practice of killing elephants to thin populations. The practice was outlawed in 1994, and elephant numbers rose dramatically.

Buckley believes the possibility of legal culling is not a threat due to a vast public outcry against the practice. She points out that a surge in elephant populations in Africa is more noticeable because so many of that continent’s elephants are confined to national parks due to habitat loss. If they had more wild space, they would spread out.

The Memphis Zoo is attempting to breed Asali. She was artificially inseminated last month, but zoo officials won’t know if she’s pregnant for a few more months. If she is, it’ll be 22 more months before the baby elephant is born.

“It takes a long time to cook a 300-pound baby,” says Thompson, chuckling.

The zoo hopes to begin expanding the elephant barn, the area where Asali and Ty sleep on cold winter nights, later this year. The expansion into the rhino space, located next door to the elephants, probably won’t happen until the rhino living there either dies or is moved to a new space. Thompson calls the rhino “geriatric” and says she’s already lived past her life expectancy.

The planned elephant exhibit near the Northwest Passage won’t come to fruition until around 2012. No plans have been drawn up detailing just how much more room the elephants will have in the new exhibit, but it will probably exceed the Association of Zoos and Aquariums’ standards: 1,800 square feet of outdoor space for one elephant and 400 square feet of indoor space. To get an idea of the size of the spaces, consider that a football field is 57,600 square feet.

Justin Fox Burks

Buckley at feeding time

When the multimillion-dollar expansion is complete, Thompson says they’ll add two more elephants, one male and one female. The new elephants would be rotated between the new exhibit and the current one.

“We’ll interchange them. We’ll walk them back and forth so they can get exercise,” says Thompson. “We may even make moving the elephants something for people to watch.”

That’ll be more exercise than Asali and Ty have had in years. For now, their only workout involves walking from one end of their pen to the other.

Back in 1997, the Memphis Zoo made a commitment to elephants, according to Thompson. They decided to keep the exhibit open rather than phase it out. But to do so, zoo officials knew they’d have to improve their elephant program.

At that time, they switched to “protected contact,” a method of dealing with elephants without entering their space. Zookeepers trim the elephants’ feet, bathe them, draw blood, and do other medical procedures from behind a steel fence. Previously, keepers would go inside the exhibit.

“When we stay outside the bars, there’s a whole trust thing going on,” says Thompson. “It works like this: If they do something for us, they get a treat. Elephants are chowhounds. They love treats, so they’re very cooperative.”

About four years ago, the exhibit was expanded into an adjacent space in between the elephant and rhino exhibits. That space was once home to tapirs, a large mammal that resembles a pig crossed with an anteater, but the tapirs were donated to another zoo. Last year, the zoo added an 80,000-gallon wading pool.

Justin Fox Burks

Matt Thompson

Eighteen’s Not Really a Crowd

Billie, Liz, and Frieda, also known as the Divas, are a little timid this morning. From our place on the hill, Buckley tells me they’re fairly new to the Elephant Sanctuary. They came from the Hawthorne Corporation, a circus training farm charged with 47 counts of animal abuse in 2003.

Nine of those elephants were given to the sanctuary, and several adjusted quickly. But these three are taking their time. They stick close to the state-of-the-art heated barn where elephants sleep on cold nights.

While Buckley and I talk, a caretaker approaches the Divas on a four-wheeler, and Buckley yells for her to open a gate near the elephants. The worker is no more than 10 feet from the colossal creatures. Both human and pachyderms appear at ease.

Though Billie and Frieda were labeled “dangerous” by the circus crew, Buckley says they’ve shown nothing but affection since they’ve been at the sanctuary. Elephants here are generally managed with “free contact,” meaning caretakers go where they are.

“Between 7 and 9 a.m., we go out on our four-wheeler and give them their supplemental feedings, which includes grain, produce, and hay,” says Buckley. “They’re wide awake at that time, usually foraging.”

Though the sanctuary is still a form of captivity, the area resembles the wild, and, believe it or not, the climate in rural Tennessee is quite similar to the subtropical southeastern Asian climate these elephants would experience at home. Though only 18 inhabit the space for now, Buckley says 100 elephants could live at the sanctuary comfortably.

“The only way I believe you can do right by a captive animal is to ensure they are living in an environment with all of the same components that they would have in the wild,” says Buckley. “Here at the sanctuary, it’s captivity. But we’re taking a more serious look at how we do what we do.”

Having worked in zoos and circuses for years, Buckley knows a thing or two about captive environments. She realized that the animals weren’t happy in cramped quarters or abusive situations, so she and co-founder Scott Blais bought 220 acres of land and started the sanctuary in 1995. It has since seen several expansions.

Justin Fox Burks

Asali and Ty at the Memphis Zoo

She’s glad to see some zoos opt to close their exhibits, but the elephant-space expansion going on at other zoos, including the Memphis Zoo, concerns her.

“It’s a Band-Aid. It’s not a solution,” says Buckley. “Many zoos will spend a pile of money making the yard twice as large, but that makes no difference for elephants. They will continue to suffer.”

Gay Bradshaw, an animal-psychology researcher at Oregon State University, agrees. She’s been working with the sanctuary, studying post-traumatic stress disorder (PTSD) in elephants.

“Some might say elephants need more space, but that’s not all. They need to have something like the [Elephant Sanctuary],” says Bradshaw via phone. “Yes, that’s captivity, but it’s a kind of captivity where an elephant can be an elephant. They can do what they want when they want. A nice physical space is not enough.”

Research like Bradshaw’s, which claims that traumatic events can cause mental illness in elephants, is proving that elephants are more self-aware than previously thought. In October, researchers at the Bronx Zoo discovered that elephants recognize themselves in a mirror, a complex behavior only previously found in humans, chimpanzees, and dolphins.

Like humans, elephants have a tight-knit family structure. They bury their dead with earth and brush and conduct vigils at gravesites. At the sanctuary, elephants Sissy and Winkie kept a three-day vigil at the grave of their pal Tina. At the end of the vigil, Sissy left her favorite toy, a tire she’d frequently carried around with her trunk, on Tina’s grave, as if it were a bouquet of fresh flowers.

Elephants Never Forget

Last summer, Winkie, a 40-year-old, 7,600-pound elephant at the sanctuary, lashed out unexpectedly, killing her 36-year-old caretaker, Joanna Burke.

The incident happened while Burke and operational director Blais were conducting a routine inspection of Winkie to check for bites or wounds. They noticed her right eyelid was a little swollen, perhaps from a bug bite or sting.

Blais performed a close examination of the eye, and Burke offered the elephant some water. As Burke moved to Winkie’s right side to get a closer look at the eye, the elephant suddenly struck Burke across the chest and face with her trunk. The blow sent Burke flying to the ground, and Winkie stepped on her, killing her instantly. When Blais tried to intervene, Winkie attacked him, fracturing a bone in his leg. After the killing, Winkie acted withdrawn for weeks, as if she was mourning her caretaker’s loss.

Though Winkie had never killed before, she did have a bad reputation before arriving at the sanctuary from the Henry Vilas Zoo in Madison, Wisconsin. Since Winkie had arrived at the sanctuary, they’d had no problems with her.

Bradshaw believes Winkie has a classic case of PTSD. She’s working with the sanctuary on healing Winkie as well as two other elephants believed to be experiencing signs of trauma. She believes the stress spawns from seeing their families killed when they were taken into captivity as baby elephants or from abusive situations in circuses and zoos.

“In Africa, when bringing the elephants into captivity, a number of elephants are orphaned from culls. That affects the neurobiology and behavior of a baby. Trauma becomes etched on the brain,” says Bradshaw. “In Asia, they didn’t cull, but they do capture babies and take them into captivity.”

Thompson, of the Memphis Zoo, says he isn’t familiar with Bradshaw’s research but he does believe elephants can suffer from PTSD. Ty, the zoo’s older elephant, came from the Ringling Brothers Circus when she was 12 years old.

“They were probably pretty rough on her. The circus in 1974 wasn’t a pleasant place to be if you were an elephant,” says Thompson. “To this day, she doesn’t like it when people raise their voice.”

With all the new research coming out, Buckley wishes more zoos would take note and close their elephant exhibits. “The elephants who come to us are in the very worst situations,” she says. “They’re the ones that zoos and circuses want to get rid of. We’re the dumping ground, which is fine. But we would love to see all elephants in a better situation.”

In an effort to educate the public about the sanctuary’s program, plans are in the works for an educational center. The center would give the public a chance to visit the sanctuary without disturbing the elephants. Views of the elephants would be available through video feed from cameras placed throughout the habitat.

“People can come and learn about our philosophy of non-dominance and non-intrusion,” says Buckley. “It’ll give people a physical place to come to because they’re used to that, yet they will not be looking at the elephants eye-to-eye.”

“We’re in a new paradigm, a trans-species paradigm,” says Bradshaw. “We have a stellar model by which elephants in captivity can be supported and healed. That’s the Elephant Sanctuary. The science is there. It’s not just an animal-rights issue. It’s time to make a shift.”