Donelle Ruwe
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try to be as unprepared for these interviews as possible so the first question I asked Donelle was the first one that came to mind: Have you ever been interviewed before? She thought for a moment and said she had, during her days as a bluegrass performer. Well, that was all she and I needed.
I listened as she told me about how much music meant to her, and
how sheused to play the piano, the guitar, and that sweet instrument, the mandolin,
and how she got from being a music education major in college to an English
Prof. She loves bluegrass, she said, especially a tune called Billy and
the Low Grounds. And when she mentioned it didnt have any words
we talked about writing lyrics, and then writing poems.
I told Donelle that I admired her poems, the ones Id read on the Internet, and she talked for a while about how its hard to find time to do any poetry writing when youve just come to a new place. There are always so many things to see to and get settled before you can find the time to write. We talked some more about her poetry and how she used to read her poems as part of a performance art group, and then a student came to her office door and I knew it was time for me to leave.
As I was going, Donelle gave me a book of her poems. I didnt read them right away, but I read them that night, and all I can say is I hope she finds time to do some more. You can find one of her poems online at https://spokenword.to/oasis/ruwe_d.html.
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hen I came into Chriss office, the floor was awash with boxes of books
that he was reviewing for the Composition Committee, but they didnt stand
in the way of our visit. We talked at first about his recent activities at
the MMLA conference in Minneapolis. He did some directing up there and presented
a paper on Sarah Kane and Patrick Marber, two contemporary British playwrights.
I wasnt familiar with either so I asked Chris about them. He told me
about Kanes Blasted, a play filled with rape, violence, cannibalism,
sodomy, and various acts of mayhem and pain.

Teaching contemporary American literature this semester with its own mayhem
and pain, I asked him how his students take to texts that are so hard to take,
so hard to look at. He talked about how he prepares students beforehand, tells
them how one of the functions of art is to sensitize us to terrible things in
ways the media generally doesnt. I found myself nodding and agreeing.
Yes, thats what art should do.
I figured that people would think that he and I were too serious, so I asked him if he likes Broadway musical comedies (he doesnt much) and this led to a discussion of music in general, what he likes to listen to (Early Jazz, Billie Holliday, Big Band), and the trombone he used to play and why he stopped playing. The last makes a good story.
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Marty Scott
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always like to know where people come from so I asked Marty how he got here
to Charleston. I knew about Houston and Iowa City but I wanted to hear about
the places before that. And he told me about starting out in Cheney,
Pennsylvania, and the orchard country of south Jersey, and how he never
visited
New York as a child and only sometimes visited Philadelphia. His people
were never much for visiting big cities but he went for his BA to Wheaton College
and afterwards lived and worked in Oak Park, a suburb of Chicago. I was a Chicago
boy myself, and asked him about the city. He rolled off street names like Euclid,
Harlem, and Lake, and it was an honest pleasure to hear that simple poetry of
place.
And thats when I looked to the wall behind Marty and saw posters of Johnny Cash, Blind Willie Johnson, Muddy Waters, and Son House. We talked about the songs Marty likes and the songs hes written. I looked around hoping to see one of his guitars leaning against a wall but there wasnt one, so I didnt ask him to play but I asked him if he could give me a song he wrote. He leaned back, thought for a minute, and said, Well, theres Hard Redemption. Theres a fine title, I thought.
I wished I had asked him to sing the song.
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Thanks to https://www.geocities.com/TelevisionCity for Jack Webb photo.