Dr. Jessica Chiccehitto Hindman is the most recent addition to the creative writing faculty. Her writing has recently appeared in Hippocampus and Brevity. She has worked as a freelance researcher for various media organizations including MTV, where she was the first person to compile research on the show that would later become the nationwide hit Teen Mom. Her teaching and writing interests include memoir, the personal essay, cultural criticism, and Narrative Medicine.
JT: When did you start teaching at NKU? How has your experience been so far at NKU?
JCH: I started at NKU in August 2014, and it’s been amazing. I have never had more enthusiastic students, and my colleagues go out of their way to be supportive of me. Everyone has been very welcoming as I find my place here.
JT: I remember the first time I really fell in love with creative writing and why. What sparked your passion for creative writing?
JCH: Like most writers, I fell in love with reading first. I grew up in two very small, mountainous towns–one in WV that was under 2,000 people, and one in VA that was under 3,000. Reading was my primary way of learning about different people and places. And it was by reading that I knew I wanted to write. I remember being a freshman in college and reading Barbara Ehrenreich’s book, Nickel and Dimed. What I loved about that book is that it translated the realities of the working poor to a wealthy, elite readership. The translation wasn’t perfect, but it was the first time I’d ever read anything that even attempted to do that. As someone who had grown up in Appalachia and moved to uber-wealthy Manhattan, I knew I wanted to write literary nonfiction that bridged the divide between those two cultures, which is something that I struggled to do in my daily life. And I knew I wanted to write in a way that promoted social justice.
JT: How did that passion for creative writing transfer to a passion for teaching?
JCH: I never set out to teach, and yet, learning how to teach (it’s a constant learning process) has been the most meaningful intellectual and artistic experience of my life. Writing, particularly memoir writing, requires me to search inward. Like most memoirists, I don’t always like what I find there! Teaching is the opposite; all of my attention is focused on other people. It’s a much more comfortable stance. All that said, teaching is by no means some selfless act. I learned more about writing during my first semester of teaching writing (during the second year of my MFA program) than I had in K-12, college, and the first year of my MFA combined. I am constantly learning how to write by teaching others how to write.
JT: I know a number of students plan on being writers and professors after they graduate, myself included. What advice would you give to those students?
JCH: I think flexibility is key. I majored in Middle Eastern Studies in college. When September 11th happened I was actually in Cairo, Egypt on my junior year abroad. I interned at several newspapers and thought that with my knowledge of the Middle East and newspaper reporting experience, I’d have no problem getting a journalism job, especially with all the chaos in the region. But then, within a span of a few years that happened to coincide with my college years, the internet decimated the entire field of journalism. Newspapers folded, thousands of people were laid off, and the remaining news organizations closed most of their foreign bureaus. I had planned very carefully how to get a job after college, and it didn’t matter at all because the entire world had turned upside down. You just can’t plan for that; what you can do is be flexible. Think about what skills you have. Think about what the world needs. If there is anything that you know would make you absolutely miserable, cross that off your list, but be open to everything else. Be especially open to career paths you’ve never even considered. I never in a million years thought I’d be a college professor because, well, I really didn’t like college that much, and I was very happy to graduate and get the heck out of there. I never thought I’d go to graduate school. It was only years later that I opened my mind to it, and now I consider academia a place where I can contribute and a place where I feel at home. My point is that the world is going to change in extreme ways that we have no ability to predict. The “practical” major of today can easily become the major of the unemployed tomorrow, and vice-versa. The great thing about becoming an expert in the English language, and learning how to think critically and creatively, is that these are extremely flexible, transferable, and durable skills.
JT: I know you have work that is in the process of being published. Tell us about that.
JCH: Yes, I have a memoir that is currently with an agent in NYC. We are in the final stages before shopping it to publishers. Because it’s still in that stage I can’t say much more than that, but what I can say is that I wholeheartedly agree with George Orwell, who said that writing a book is like having some horrible, exhausting illness. It has been worth it, because one’s first book is, of course, where one learns how to write a book, but I will be very glad when the process is over and I can move on.
JT: Any other advice, thoughts, etc.?
JCH: One thing that sustains me through long workdays is knowing I will get to encounter my students’ lives on the page, in all of their glorious complexity, diversity, hilarity, and tragedy. I feel so privileged to help people write about their lives, and I learn so much about the world through what my students write. I guess what I’m trying to say is that if you’ve ever thought you have a true story to tell, I hope you’ll consider taking a Creative Nonfiction workshop!
Dr. Wallace with Kathleen Piercefield and her multi-media Queequeg print
at her Senior Show in the Main Gallery in December 2004.
Our Regents Professor, Dr. Bob Wallace, shares some teaching memories as well as his current projects.
When did you arrive at NKU? Why did you stay?
I arrived at NKU in August 1972, the year I got my Ph.D. from Columbia University. I was very fortunate to be able to come to this new university, because that year there were only six jobs advertised nationwide in American Literature. I have stayed because it’s been great to teach our students from the beginning, and wonderful to watch our department and university grow.
What is one of your fondest teaching memories?
I think of two brief conversations with long-lasting results. Barb McCroskey, a student in my course in Music and Literature, asked if I could also teach a course in Literature and Painting. About a decade after that, Fred North, a student in my course on Melville and the Arts, asked if he could submit a painting, rather than a research paper, as his final project. I said yes to each question, and am eternally grateful for what I have learned from Barb, from Fred, and all those students who have followed in the path their questions opened up for me.
Please tell us about your latest publication.
My book on Jake Heggie and Gene Scheer’s Moby-Dick opera has been an amazing personal and artistic experience. I went to the world premiere of the opera in Dallas in May 2010 not knowing what to expect. By the end of the performance I knew this was something I wanted to write about. One month later I flew to San Francisco for an interview with the composer Jake Heggie. By the end of our day-long interview, I knew that I wanted to make a book about the opera, and the creative team who created it, and extraordinary artists who performed it, my top priority. I had to adapt my scholarly style as a writer to a new kind of subject, and audience, and I am grateful that my publisher made room for a lot of photographs from the production and a lot of interviews with creators and performers who shared their time and experience with me.
What is your current research project?
I am currently writing a book about Frederick Douglass in Cincinnati in the 1850s. I am learning a lot about Douglass himself as well as about the abolitionists who supported him here, some of whose stories have yet to be told. We have more to be proud of here from that period in history than we are generally aware of.
What advice do you have for our student writer-researchers and those who wish or are just beginning to teach?
I think the most important thing for student writer-researchers or beginning teachers is to follow your passion, see where it leads you, and give it all you have.
As someone who joined our English faculty way back in 1972, I am particularly grateful for the fine young faculty we have hired in every subsequent decade, making this a better and better department in which to teach or study.
Dr. Wallace with Nicci Mechler (our alum feature from September) from the “In Dreams” show at the NKU gallery. Of course, Dr. Wallace inspired Nicci’s Dickinson art (featured in the background).