River City, TN February 2026

believe local business thrives on local banking.

Cheryl, proudly independent for 4 years.

As co-owner of a family-run bookstore that has been in operation for nearly 150 years, we know the importance of doing business close to home. After years of frustration with larger, national banks, we switched to i-bank 4 years ago and have been amazed at the difference in service.

Cheryl Mesler Co-Owner, Burke’s Books

Start your story with i-bank today, and find out why being proudly independent is the most rewarding way to bank. i-bankonline.com

AMI AUSTIN - BABCOCK GIFTS - BLU D’OR INTERIORS - CHICO’S

COLLECTED BY ELIZABETH MALMO - COTTON TAILS - DINSTUHL’S

EAST MEMPHIS ATHLETIC CLUB - FLEET FEET SPORTS

FROST BAKE SHOP - GOETZE ART & DESIGN - HIGHTEE - HOT YOGA PLUS J. MCLAUGHLIN - JAMES DAVIS - J. JILL - JOSEPH - JOSEPH MEN

KING FURS AND FINE JEWELRY - KITTIE KYLE - LIBRO

LISA MALLORY · SARAH SPINOSA INTERIOR DESIGN - LORI JAMES

NOVEL - ORVIS - PANERA BREAD - PAVO SALON

PIGTAILS AND CREWCUTS - RESTAURANT IRIS - SACHI

SECOND LINE Coming in '26! - SISSY’S LOG CABIN

STOVALL COLLECTION - ZÜPMED

FebruaryLove Local

Memphis doesn’t try to impress; it is impressive.

It’s impossible not to love a community that gives so much back to its residents. A city of contradictions – both gritty and grand – Memphis continues to celebrate itself and the folks who call it home.

“Love local” is not just about supporting the businesses in your area—it’s about cherishing what’s essential to you in every sense. This is a particularly exciting time in Memphis with multiple anniversaries to celebrate in Arts and Culture as Overton Park celebrates 125 years, Opera Memphis 70 years, the Dixon Gallery and Gardens 50 years, the National Civil Rights Museum 35 years and Ballet Memphis 40 years and a new Executive Director. These River City treasures are all offering special programming to mark the milestones. And brand-new adventures await this year with the opening of Memphis’ Art Museum on the riverfront and the Metal Museum’s new digs at Overton Park.

Memphis opened 50 new restaurants in 2025. Landmarks like The Peabody Hotel and Tiger Stadium underwent major renovations. The music and sports teams continue to sustain fans, as do small wonders like clean tap water from the Memphis Sand Aquifer, which runs 3,000 feet below ground. Gratefully, Memphis also boasts world class medical research and providers, and extensive opportunities for worship, education, enrichment and service to others.

Thank you for allowing us to be part of the life you’re building. While it is easy to absorb ourselves in endless content online and Amazon-style shopping, there is more to experience in person in Memphis than ever before. Our greatest hope is that this issue helps you love it just a little more than before.

February 2026

PUBLISHER

Christian Owen | christian.owen@citylifestyle.com

PUBLICATION DIRECTOR

Kit Garrott | kit.garrott@citylifestyle.com

MANAGING EDITOR

Jeannie Tabor | jeannie.tabor@citylifestyle.com

EDITOR

Lindsey Tonkin | lindsey.tonkin@citylifestyle.com

PHOTO EDITOR

Sarah Voigt | studio@sarahvoigt.com

EDITORIAL COORDINATOR

Amy Golden | amy.golden@citylifestyle.com

SALES MANAGER

Malise Culpepper | malise.culpepper@citylifestyle.com

MARKET AREA COORDINATOR

Morgan Zanone

STAFF WRITER

Margaret Ledbetter

ACCOUNT MANAGER

Jeff McMillen

COPY EDITOR

Jo-Ellen Sharpe

STAFF PHOTOGRAPHER

Uday Sripathi | uday@goldensparrowstudios.com

CONTRIBUTING PHOTOGRAPHERS

Amy Threadgill, Stefanie Rawlinson Photography

Corporate Team

CEO Steven Schowengerdt

President Matthew Perry

COO David Stetler

CRO Jamie Pentz

CoS Janeane Thompson

AD DESIGNER Josh Govero

LAYOUT DESIGNER Andi Foster

QUALITY CONTROL SPECIALIST Hannah Leimkuhler

how to start your own publication at citylifestyle.com/franchise.

LISA MALLORY

SARAH SPINOSA

We are a luxury retail and design boutique offering a curated selection of home furnishings, bed, bath and gifts. Selling the finest lines in the industry, we provid e a selection of both in-stock and special-order items.

Matouk - Sferra - Pinecone Hill - Yves Delorme

inside the issue

A New Chapter

Ballet

Designer Notes

Selena McAdams of Spruce

Words Between Worlds

Author Hadley Hury’s

SPENCER W. HAUSER, MD

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GALENTINE’S GAME DAY

Celebrating friendship with easy snacks, bubbly drinks and game-night fun

February is the month for love. And what’s more fun than celebrating that love with your favorite gal pals? Enter Galentine’s Game Day - a relaxed, laughter-filled way to honor friendship, connection and a little friendly competition. Forget the pressure of fancy reservations or elaborate menus. This celebration is all about cozy vibes, shared treats and quality time around the table.

Start by setting the scene. Think playful, not precious. A mix of pinks, reds and soft neutrals feels festive without going overboard. Scatter heart-shaped napkins and cue up a feel-good playlist, anything from nostalgic hits to mellow background tunes that won’t compete with conversation. Set out a cheerful spread that encourages guests to sip, snack and mingle at their own pace.

ARTICLE BY MORGAN ZANONE | PHOTOGRAPHY BY SARAH VOIGT

STRAWBERRY ROSÉ BELLINI

Recipe by Ree Drummond at Foodnetwork.com

Ingredients:

• 1 cup sugar

• 1 pound frozen strawberries

• 2 tablespoons lemon juice

• Chilled sparkling rosé, for serving

Directions:

1. Make a simple syrup: Add the sugar and 1 cup of water to a small saucepan and heat over low heat until the sugar is dissolved. Transfer to a container and allow to cool completely in the fridge, about 45 minutes.

2. Add the strawberries and lemon juice to a blender with the cold simple syrup, and blend until smooth. Strain through a fine-mesh strainer to remove the seeds. Transfer to a pitcher and chill until ready to use.

3. To serve, add about 2 tablespoons of the strawberry purée to a champagne flute or coupe and top off with the chilled rosé.

CANDY HEART BARK

Recipe by Lindsay Funston at Delish.com

Ingredients:

• 6 ounces white chocolate, coarsely chopped (I used Ghirardelli.)

• 2 ounces pink candy melts or pink food coloring

• 1/4 teaspoon canola or vegetable oil

• 8 ounces semisweet chocolate, coarsely chopped (I used Ghirardelli.)

• Conversation heart candies and pink sprinkles, for decorating

Directions:

1. Line a large baking sheet with parchment paper or a silicone baking mat; set aside.

2. With a double boiler or microwave, melt white chocolate and candy melts (or food coloring) together. If using a microwave, stir the chocolate every 20 seconds. Once melted and smooth, stir in the oil, then set aside.

3. Melt semisweet chocolate the same way you melted white chocolate. Pour onto the prepared baking sheet and spread out into a large rectangle using a spoon or rubber spatula. Drizzle white chocolate mixture on top, then use a knife or toothpick to swirl the layers together. Sprinkle top of bark with conversation hearts and sprinkles.

4. Refrigerate to set, about 2 hours. Once hardened, break into pieces as large or small as you want to serve.

CONTINUED >

For drinks, homemade Strawberry Rosé Bellinis set the tone. Light, bubbly and perfectly on theme, they feel celebratory without being fussy. Frozen strawberries blended into a purée add color and sweetness with a splash of sparkling rosé, keeping things bright and refreshing. Serve them in flutes or coupes with a strawberry garnish for an effortless touch of polish.

On the snack front, balance homemade charm with easy favorites. Chocolate Candy Heart Bark is a crowdpleaser. The melted chocolate swirled with conversation hearts delivers nostalgia with a homemade twist. Pair it with Trader Joe’s Sweet and Salty Snack Mix for those who love contrast, and the Stepping It Up Spicy Snack Mix for guests who crave a little heat. Together, they create a grazing table that hits every craving without requiring hours in the kitchen.

The real star of Galentine’s Game Day, though, is the games. Rummikub is a perfect choice: easy to learn, endlessly engaging and just competitive enough to keep things interesting. Its blend of strategy and luck levels the playing field, making it ideal whether you’re playing with longtime friends or newer additions to the group. As tiles clack and runs come together, conversations flow naturally - equal parts playful trash talk and genuine catch-ups.

For groups who already love mahjong, this game also fits seamlessly into the afternoon. Familiar, social and satisfyingly strategic, mahjong brings its own rhythm to the table, one that encourages lingering, conversation and a shared appreciation for a game many already know and love.

Galentine’s Game Day is ultimately about slowing down and savoring the friendships that carry you through every season. In a month often focused on romantic love, it’s a refreshing reminder that love shows up in many forms - inside jokes, supportive listening and the shared thrill of laying down that final winning tile.

Comfort When it Matters

Where Creativity Takes Shape

Memphis has long been a city defined by the art it makes - visual, musical and cultural. Yet even in a place with such a storied creative legacy, true incubators of experimentation can be surprisingly rare. This fall, a new art school and gallery in East Memphis set out to change that. ShapeShifter Art School and Gallery, founded by artist and educator Pam McDonnell and a group of like-minded collaborators, officially opened its doors on November 22, 2025, with a studio celebration that marked the birth of more than a business. It marked the emergence of a creative philosophy.

Memphis’ New ShapeShifter Art School & Gallery - Built for Play, Courage and Transformation

ARTICLE BY JEANNIE TABOR | PHOTOGRAPHY BY SARAH VOIGT

Shapeshifter was named during an early brainstorming session, when the founders pulled archetype cards from artist Kim Krans’s deck. One card resonated with nearly everyone at the table: The ShapeShifter. The archetype represents adaptability, transformation and fluid identity - a symbolic starting point for a place dedicated to experimentation and to the idea that creative identity is not fixed, but continually unfolding.

“When applied to making art, shapeshifting allows us to get into a flow without fear of failure,” McDonnell explains. “It’s about releasing control, letting the work guide you and being open to what changes in the process.” That philosophy sits at the heart of the school and gallery’s mission: to build a space where makers - whether seasoned artists or creatively curious beginners - are encouraged to explore, question, transform and, above all, play.

The founders decided that ShapeShifter would not be just a school or just a gallery but a hybrid of the two - a single creative home where making and showing work are inseparable.

“A natural, though not necessary, ending to the act of creation is sharing what you’ve made,” says McDonnell. “Looking at and talking about work in a space different from the studio is integral.”

In ShapeShifter’s gallery, pieces are removed from the comfort and chaos of the studio environment and placed into a clean, contemplative space. This shift, McDonnell says, allows artwork to “birth into its independence” - to expand, shrink or evolve in ways only possible when the maker steps back.

Though the physical space came together in 2025, ShapeShifter’s origin story stretches back years, through late-night conversations and ongoing collaborations among its founders. McDonnell remembers discussing the idea of a dream gallery with fellow artists Nikii Richey and Melissa Dunn as early as 2018.

“If you can experiment without fear of making a mistake - maybe even hoping for one - you become part of an incredibly beautiful process.”

At the same time, she began daydreaming with Lisa Williamson about starting a school. Elizabeth Alley joined the circle soon after, given her close working relationships with both Dunn and Richey at Flicker Street Studio, a beloved Memphis art hub that once nurtured many local artists. Elaine Canepa came onboard as Program Coordinator in mid-2025 to guide ShapeShifter’s launch and operational foundation.

The group formed slowly and organically - what McDonnell calls “methodically, through conversations that kept pointing us back to each other.” What connected them was not simply artistic skill but shared values around teaching, exploration and cultivating supportive creative communities.

Launching ShapeShifter, McDonnell admits, has been all-consuming. “It’s like having a newborn,” she says. “This new life is hungry and needy, and I have to always be here for it. The good news is I love being here. I’m sure this is where I’m meant to be.”

One motivating factor behind the school’s creation was the founders’ belief that Memphis lacked spaces dedicated to experimental work by teaching artists. They envisioned a place where instructors could ask themselves, “What would I create if I could do anything—without constraints?”

“We think of ShapeShifter as an art lab,” McDonnell says. “A place for play and possibility.”

This approach extends to the student experience as well. The founders are united by a philosophy of “playing without shame” - a concept that challenges the rigid expectations many people inherited from their earliest experiences with art.

“Almost everyone remembers being told they ‘drew something wrong’ as a child,” McDonnell notes. “For many, that moment made them quit making art altogether.” ShapeShifter was built to dismantle that shame, to create a culture where risk-taking is encouraged and mistakes are viewed as essential, not catastrophic.

The school invites adults to pick up where they left off when they were nine years old - to rediscover the part of themselves that once drew fearlessly, without internal critique or comparison.

ShapeShifter’s founders intend to maintain a highly selective teaching roster - not based solely on exceptional skill, but on alignment with their core values. They seek instructors who practice what McDonnell calls “radical shapeshifting” in their own work and who approach teaching with a blend of skill, vulnerability, playfulness and empathy.

“This is a space to heal the part of you that thinks you can’t draw,” she says. “That’s a huge responsibility, and we take it seriously.”

The curriculum is designed to encourage improvisation, curiosity and collective inquiry. Students and teachers explore questions together, engage in debate, test ideas and embrace the unknown. The environment is intentionally non-hierarchical and collaborative, allowing each person - regardless of training or background - to contribute meaningfully.

Mistakes, McDonnell insists, are not only welcome but vital. “If you can experiment without fear of making a mistake - maybe even hoping for oneyou become part of an incredibly beautiful process.”

For those hesitant to take a class, McDonnell offers reassurance: “Know that you belong here.” Art, she acknowledges, brings complicated emotions with it, even for professionals. “I’m nervous every time I walk into a classroom - especially when I’m teaching. Bring your fullness with you. You are safe here with all the things that might make you hesitate.”

Ultimately, ShapeShifter Art School and Gallery aims to be a transformative space - not only for artists but for anyone who feels the quiet, persistent pull of creativity. For Memphis, it offers a new hub where experimentation is honored, courage is cultivated and the act of creating becomes an act of personal expansion.

“Art works with all the things,” McDonnell says. “Come on. We’ll walk you through it.”

SHAPESHIFTER WINTER OFFERINGS:

• Art with (re)Purpose: Found Object Assemblage Art

-Jana Wilson

February 7 – 9:00 a.m. – 2:30 p.m.

• Introduction to Paper Collage and Valentine’s Day Cards

-Justin Bowles

February 14 – 9:00 a.m. – 2:30 p.m.

• Sketching Your Everyday World

-Elizabeth Alley

February 14 – 1:00 p.m. – 6:30 p.m.

• Professional Practice

-Dr. Lisa Williamson

February 21 – 9:00 a.m. – 2:30 p.m.

• Introduction to Soft Sculpture

-Sophia Mason

February 15 – 11:00 a.m. – 4:30 p.m.

• ShapeShifter Gift Card

-Give the gift of creativity! Recipient can use their gift card to attend a workshop or shop in the gallery

SHAPESHIFTER ART SCHOOL AND GALLERY

680 Oakleaf Office Lane | Memphis TN 38117

901.206.3480 | shapeshifterartschool.com

A NEW CHAPTER

ARTICLE BY MARGARET LEDBETTER | PHOTOGRAPHY BY

BALLET MEMPHIS ENTERS A NEW CHAPTER IN ITS STORIED HISTORY

Celebrating a 40th anniversary this year, Ballet Memphis welcomes its first Executive Director, Andrew Goldberg. Ballet Memphis will now move forward under a dual leadership model where Goldberg, as Executive Director, will oversee the administrative and operational functions of the organization. At the same time, Artistic Director Steven McMahon will continue to lead the artistic vision and programming.

Only the third Director since the company’s founding in 1986 by Dorothy Gunther Pugh, Goldberg brings decades of leadership experience in performing arts fundraising to Memphis. Most recently, he served as Senior Director of External Affairs at Ballet West in Salt Lake City, where he led a 17-person staff and helped grow the company’s budget by 40 percent over five seasons.

“We are thrilled with the appointment of Andrew and the next era for Ballet Memphis. His depth of knowledge and audience development skills from such a wide range of arts institutions will serve us, and all of Memphis, well,” said Shelley Shanaman, Chair of the Ballet Memphis Board of Directors.

Artistic Director Steven McMahon added, “It was clear that Andrew possessed the energy and passion for collaboration and all the things that a strong arts organization can bring to its city.”

The first production under the new leadership team will be Winter Mix this month. Ballet Mistress Julie Neiscraxz compares Winter Mix to a “flight of wines.” The three short, very different pieces provide a “taste” of different styles and choreography designed to appeal to a broad audience. “It is always one of our most popular performances,” says Neiscrasz, as there is “something for everyone.” Neiscraxz is a former member of the company as is Costume Director Gabriella Noros-Diaz, who, along with her team, sews all of the costumes for every production in-house.

The midtown headquarters of Ballet Memphis is a work of art itself. The light-filled contemporary structure is an incubator for creativity. Between classes, rehearsals, STOTT™ Pilates and performances, the creative energy inspires students as young as three. “We aim to help people of all ages and backgrounds discover dance in a safe environment,” according to the Ballet Memphis website.

“Impacting youth in our community through education and performance is essential,” says Goldberg. Ballet Memphis has a long history of engagement with the community beyond performances. Over the holidays, there was a special story time where company dancers read books, sang songs and performed - creating a magical experience for children and families and a fun educational introduction to dance themes and stories.

For older children, ages 14–18, there is a unique opportunity to collaborate with students from the Stax Academy. The “Collaborations” series allows Youth Ballet Memphis students to choreograph dances set to original music composed and performed by Stax Music Academy student musicians. The ensuing performances foster community and showcase emerging Memphis talent in unique shows. These youth collaborations also complement the company’s ongoing work with the Memphis Symphony Orchestra, the Orpheum Theatre and other arts organizations.

Goldberg, in his first few weeks at the helm, attended Ballet Memphis donor ARTSMemphis’ largest fundraiser to date, ARTrageous. “I was inspired by such a large gathering to celebrate and support the arts. And they [Memphians] love a party” says Goldberg.

“The search committee, the Board of Directors, and everyone I’ve met have been so great in sharing their stories about this amazing city and Ballet Company, and my family and I look forward to creating our own stories in Memphis soon.” With his wife and two young children, Goldberg is making the River City home.

“It’s an honor to join such a storied institution,” says Goldberg. “We have found our forever home. For now.”

“PART

OF OUR MISSION IS TO SHARE THE JOY OF DANCE THROUGH BALLET—THROUGH OUR PERFORMANCES, OUR SCHOOL AND OUR OUTREACH PROGRAMS—TO SHOW THAT DANCE LIVES IN ALL OF US.”

Andrew Goldberg, Executive Director

SELENA MCADAMS OF SPRUCE

DESIGNER NOTES

ARTICLE BY AMY BIRDSONG GOLDEN

“EVERYTHING IS VERY INTENTIONAL AND MUST SERVE A ROLE; NOTHING IS THERE ‘JUST BECAUSE.’”

“Oh, it was awful,” says Selena McAdams, lead designer and owner at Spruce, recalling one of her first design projects. “But it was all mine. Hunter green and yellow, blue ribbons feeding through cabbage roses. Decidedly 80s,” she says smiling. One year for Christmas, her mother presented a Spiegel catalog to redecorate her room. It was practice for her true calling. “It sparked something in me.”

That spark, ignited by a thick catalog and a teenager’s vision, has since evolved into a respected career characterized by tactile elegance and thoughtful curation. We sat down with Selena to discuss her business and approach to design.

TAKE US BACK TO THE YEARS FOLLOWING THAT “DECIDEDLY 80S” BEDROOM PROJECT. HOW DID YOU TRANSITION FROM A CHILDHOOD INTEREST INTO YOUR CAREER NOW?

Selena McAdams:  It’s funny because I grew up with my nose in books. I only took one art class in high school. I’m from Nashville originally, and I went to the University of Memphis thinking I was heading into a law program. But the design program caught my attention.

“ACCENTS ARRIVE AS PUNCTUATION RATHER THAN CLUTTER: A SINGLE

SCULPTURAL LAMP, A CURATED COLLECTION OF CERAMICS, OR A CAREFULLY PLACED GREENERY MOMENT THAT BREATHES LIFE INTO THE ROOM.”

I realized quickly that I loved the “touch and feel” of everything. I have a deep love for fabrics— even taking an outfit and translating that feeling into a room. I knew I needed to engage all my senses. I looked at commercial design and hospitality, but I knew I wanted to be with people and helping create home

I ended up working at a European antique store called Grace Place owned by the lovely Grace Megel. It was a massive opportunity at a young age. I got to experience market and do the buying, which felt very natural to me.

I began taking on design projects and still have some of the same client relationships from those early days. I remember printing my very first business cards and cutting them out by hand. There was no online shopping back then. While working on projects, I was navigating sourcing and really just finding what I loved and figuring out how to get it here. Which brought me to opening Spruce, our shop, which was born over lunch at Huey’s

over 18 years ago. It’s where my team and I office, but we also curate furniture, accessories, art, lighting and gifts. More than a place to shop, I wanted an access point for people in Memphis without going to market or who might not be working with a designer. Personally, having a retail space has broadened my eye and I really love the community aspect of retail.  It has been incredible to watch the progress in the industry of design.

YOU’RE KNOWN FOR A FRESH AND SOPHISTICATED AESTHETIC. HOW DOES THIS INFLUENCE YOUR DESIGN APPROACH?

SM: I strive for a clean aesthetic. It is never excessive without a reason. Everything is very intentional and must serve a role; nothing is there “just because.”  Balance and layers – they are such buzz words in our industry. When I think about achieving those, and they are important – I start with mixing masculine and feminine

with dressy and casual. Said another way, let’s not make it look like a showroom. Vintage and antique pieces anchor a space. Pattern play, scale and proportion are always considered. I might start with a rich, chocolate broad stripe on upholstery but also bring in a chintzy floral. Things aren’t always in the same lane. When thinking about textures it’s not just fabric. I think about the relationship that natural materials can have between raffia, burl wood or stone.

The furniture is thoughtfully pared down: streamlined silhouettes, tactile textures, correct proportions that prioritize function without sacrificing character. Accents arrive as punctuation rather than clutter: a single sculptural lamp, a curated collection

of ceramics, or a carefully placed greenery moment that breathes life into the room. The result is a sophisticated, unfussy environment where every element has a purpose, every detail is considered, and the overall effect is eternally fresh.

LET’S TALK ABOUT COLOR. DO YOU HAVE A SPECIFIC PHILOSOPHY ON COLOR COMBOS OR INFUSIONS?

SM: Color drenching is certainly a thing right now, but my client base generally wants “light and airy.” In an initial consult, clients often lead with requests for pops of color. I think other designers might start with a color, but I almost always

start with white. There was quite the backlash in the design community over the Pantone Color of 2026, Cloud Dancer, an ethereal white. But I think neutrals are an important place to start.  I prefer leading you into a more colorful space rather than overwhelming you immediately.

For me, color plays off the scale of the space. For example, in older East Memphis homes, you often have lower ceilings. The rooms are smaller, but not necessarily cozy. That calls for the right neutral with colors that might ground or create a sense of place. Conversely, I made a ceiling dark in a project where the scale of the rooms was so large that the “human factor” was lost. By coloring the ceiling, we brought the room down to a livable scale.

Color works with contrast. You don’t want the whole space to be in the same zone, or you never get that “aha” moment.

WHY DO YOU THINK DESIGN MATTERS MORE THAN EVER RIGHT NOW?

SM:  Residential design dictates your mood. When you go into your house, you need to feel like it is your place. It can totally change your mental state. Your home can inspire you, make you feel calm, or make you feel answered. It makes all the difference in the world.

“I THINK NEUTRALS ARE AN IMPORTANT PLACE TO START.  I PREFER LEADING YOU INTO A MORE COLORFUL SPACE RATHER THAN OVERWHELMING YOU IMMEDIATELY.”

ARTICLE BY JEANNIE TABOR | PHOTOGRAPHY BY AMY THREADGILL

WORDS BETWEEN Worlds

AUTHOR

HADLEY

HURY’S NEW NOVEL BRIDGES FLORENCE AND MEMPHIS, EXPLORING LOVE, ART AND AUTHENTICITY.

In At the Villa Borago, Hadley Hury’s newest novel, two worlds meet across oceans and eras—Florence and Memphis, love and loss, art and identity. The book unfolds with a sense of grace and intelligence that reflects not just the story’s characters but the man who created them. For Hury, a longtime Memphian, words have always been the way to make sense of the world— and to celebrate its complexities.

A teacher, critic and storyteller, Hury has spent decades examining how art and culture shape who we are. His writing has long reflected that sensibility, from his years as a film and theater critic for The Memphis Flyer to his essays for Memphis Magazine. “The reviews almost always considered the films not only in and of themselves but within their broader cultural context,” Hury recalls. “Encouragingly to me at the time, they gained a large and loyal following.” That curiosity about context—about how art mirrors life—remains at the center of his work.

“Memphis is my home. It’s not just another middle-sized American city relatively indistinguishable from its peers. It has distinctive historical and cultural dimensions, unique texture, tone and color.”

His creative journey began in earnest after several years in nonprofit leadership roles. Though he wrote throughout college and graduate school, it wasn’t until his late thirties that he turned fully toward fiction. His first novel, The Edge of the Gulf, was published in 2003, followed by the short story collection It’s Not the Heat (2007) and the poetry volume Almost Naked (2018). Across genres, his hallmark is empathy—for the artist, the audience and the human condition.

With At the Villa Borago, Hury brings all his creative selves together: the teacher, the critic and the novelist. “Having a teacher leaning over one shoulder and a critic over the other has often been a challenge,” he says with a smile. “But with At the Villa Borago, all three of ‘us’ seemed to be working in harmony. I don’t know whether to chalk that up to maturity or sheer determination, but we were all rowing toward the same goal.”

Early readers have called the book “smart, fun and ultimately very moving.” Hury describes it as a character-driven novel, rich in humor and humanity. “I first formed the group of individual characters with whom I wanted to work,” he explains. “The settings are major characters in themselves. Roughly half the story is set in and near Florence, the other half in Memphis—with a few scenes in Nashville. These places, including the Villa Borago itself, have profound influence in these lives.”

For Hury, setting is more than backdrop—it’s identity. Memphis, in particular, runs deep through his work and worldview. “Memphis is a unique city, in both America and the world,” he says. “Because of its particular location—both geographically and in the history of our country—its story consists of promise and challenge, rich romance and harsh realities.” He speaks of the city’s “distinctive texture, tone and color,” and how its intersection of energies has long inspired artists. “We hear the story of who we are when we listen to the voices of the great Delta blues artists, Aretha, Elvis, Tina. And in the words of William Faulkner, Peter Taylor, Katori Hall and Tennessee Williams, we learn about the various roads that have brought us together here—and the vibrant strengths that can carry us forward.”

CONTINUED >

“Having a teacher leaning over one shoulder and a critic over the other has often been a challenge, but with At the Villa Borago, all three of ‘us’ seemed to be working in harmony.”

— HADLEY HURY

Although Hury lived for more than twenty years in four other very interesting cities, he says, “Memphis is my home. It’s not just another middle-sized American city relatively indistinguishable from its peers. It has distinctive historical and cultural dimensions, unique texture, tone and color.” In At the Villa Borago, those qualities infuse the story’s Memphis scenes with warmth and authenticity, grounding its broader themes of connection and change.

The novel’s characters, Hury says, live “on the cusp of a great cultural and social shift.” Rather than escaping the disorientation of our current times, he embraced it in the book’s creation. “The characters are learning and striving to be their best, most authentic selves, but they also believe in something larger than themselves.” The novel explores decency, honesty, and empathy as acts of quiet resistance. “It’s a love story, among other things,” he says, “but it came about as a way of dealing with the current historical moment by appreciating that life can be otherwise—that goodness itself is always ready and waiting for us to activate.”

Despite the novel’s depth, Hury infuses it with levity and joy. “Along with its serious explorations, the story is propelled by a lot of buoyancy and humor,” he says. Early readers have praised that balance: “Real substance. Real charm,” wrote one. Another said, “It evokes levels of serious thoughts and questions, but my primary takeaway is that I smiled throughout.”

That mix of intellect and warmth is signature Hury. His writing process reflects the same thoughtful rhythm. He writes six days a week, usually midday for three to four hours. At the Villa Borago took about ten

months to complete. “Getting started can be daunting,” he admits. “It’s a little like that feeling we had as small children when we desperately wanted to be in the cold pool on a hot day, but cringed at the thought of that first jump.” Once immersed, he rarely struggles with writer’s block. When problems arise, he walks. “Talking development and scenes through out loud as I walk can bring fresh perspectives and objectivity,” he says. “My neighborhood probably wonders about the guy walking down the street alone, apparently engaged in full-out conversation with no discernible earpods.”

Hury’s lifelong devotion to words began early. “My father was a wonderful storyteller,” he recalls. “Then I met Dick and Jane and the Bobbsey Twins and the Hardy Boys and National Geographic and Tom Sawyer, and I never got off the road. Words led me into books, and books led me into life and the world.” One of his earliest literary memories still makes him laugh: at eight years old, inspired by a classroom lesson on ancient Egypt, he wrote his own “scroll” about the sun, tied it with a red ribbon and presented it to his mother’s bridge club. “They read it aloud and thanked me. I heard no laughter. Writers may, in some significant ways, be born, but they also need to get started—and they need at least a couple of important encouragers along the way.”

That sense of encouragement—and the belief that stories can illuminate and connect us—permeates At the Villa Borago. Like its author, the novel honors the past while embracing what’s possible. For Hury, writing remains both vocation and voyage. “The problem-solving,” he says, “is not only an essential part of writing—it can be one of the most invigorating.”

Made to Move

Brooks Lowrance blends hydration, performance and flavor into runnerapproved mocktails inspired by the St. Jude Marathon.

Inspired by friends training for the St. Jude Marathon, Brooks Lowrance, Co-Founder of The Liquor Cabinet, wanted to understand what runners rely on most to support performance and recovery.

“I asked my friends what they typically use during their prep to get the best performance and recovery benefits,” Lowrance says.

The consensus from Brooks’s friends? Hydration and fueling are key. “Almost all of them mentioned electrolyte-rich ingredients,” Brooks says. He adds, “Six specifically emphasized that coconut water is a great substitute for regular water because of its natural hydration properties.”

Brooks also notes that some runners recommend honey as a natural energy booster, since it gives quick-release carbohydrates without causing a crash.

When Lowrance started testing recipes, he noticed something else. “We also realized that having a post-run mocktail is just as important as having a pre-run option,” he says. “While pre-run drinks help energize the body, what runners consume post-run is essential for replenishing nutrients, restoring electrolytes and rehydrating after the workout.”

Each recipe is simple enough to mix at home yet purposeful in its support for the body before and after exercise.

ARTICLE BY KIT GARROTT

CITRUS ELECTROLYTE REFRESHER

Pre-Run or Mid-Run Sip

This drink is light, a little salty and absorbs quickly.

INGREDIENTS

• 1 cup cold water or coconut water

• Juice of ½ lemon

• Juice of ½ orange

• Pinch of sea salt

• 1 teaspoon honey or agave

INSTRUCTIONS

Shake or stir until everything is mixed. Add ice if you plan to drink it before a hot run.

WHY IT’S GOOD FOR RUNNERS

Electrolytes and simple carbohydrates help you hydrate quickly without making your stomach feel heavy.

GINGER LIME SPARKLING HYDRATOR

INGREDIENTS

• Juice of ½ lime

• 1 teaspoon honey

• Ginger ale or sparkling water

• Optional: sprinkle of chia seeds

INSTRUCTIONS

Mix the lime juice and honey first, then pour in the ginger ale or sparkling water.

WHY IT’S GOOD FOR RUNNERS

This drink can settle your stomach and quickly replace lost fluids.

ORANGE CREAMSICLE HYDRATOR

INGREDIENTS

• ¾ cup orange juice

• ¼ cup coconut water

• Tiny splash of vanilla extract

• Ice

INSTRUCTIONS

Shake or stir to combine the ingredients.

WHY RUNNERS LOVE IT

It tastes like a creamsicle but hydrates like a sports drink, making it perfect for post-run recovery.

MARGARET

MIKKELSEN

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Year of

Necklace with links of black jade and 19 karat gold, and black onyx pendant by Elizabeth Locke Jewels, available exclusively at Mednikow Jewelers, 474 Perkins Extended.

the Horse

Another Chance at a Fresh Start Arrives with the Lunar New Year

ARTICLE BY AMY BIRDSONG GOLDEN

If the “New Year, New You” resolve of January 1st has already faded, a more spirited beginning awaits. On February 17th, the Lunar New Year arrives, ushering in the Year of the Horse - defined by  unbridled energy, triumph, adventure and forward  momentum.

The transition from the Year of the Snake to the Year of the Horse is a dramatic shift in tempo. Where the snake was about shedding old skins in quiet introspection and strategic planning, the horse demands we put those plans into immediate motion. If the snake taught us wisdom through stillness, the horse teaches us wisdom through action; the time for thinking is over, and the race has begun. Don’t make perfect the enemy of good. Remember, no one really knows what they are doing. It’s time to start; You are more ready than you think.

This year’s energy is a wind at your back, specifically rewarding those who are proactive rather than reactive. To harness this power, one must abandon hesitation. Embrace the horse’s love for open spaces. Whether it’s a weekend getaway or a metaphorical leap outside your comfort zone, seek environments that offer fresh perspectives. Professionally, launch the passion project, work that promotion or take time for new habits and rhythms. Remember, horses are herd animals.  Prioritize your social calendar. It’s hard to make time, but make the time. Book the dinner reservation and plan a night with friends whom you don’t see outside of the group text. Network intentionally and strengthen community bonds, as success this year is often found in collaboration. We have a great community, Memphis.

CONTINUED >

The universe seems to be nudging us toward speed—not a leisurely stroll toward opportunity but a brisk, confident stride—like stepping into a room that’s already set for you, and no one’s waiting for permission to begin. And if you pause for too long, you’ll miss the moment that was never really there to begin with. So move with intention, a small practical leap rather than a grand panic, and trust that momentum will do the rest. And yes, it’s absurd how often timing is better than perfection, but that’s the point.

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Memphis Diamond Company

Happy Valentine’s Day