That's not really a piece of Original Writing, but...

I have composed this piece 2 years ago, when I assited Alison Rapoport, a Pomona College alumnae on her project on "Influences and Inspirations of War on Vietnamese visual arts". Can you please proofread it and give me some advice on the job of interviews?


SAMPLE INTERVIEW

Guest: Ta Quang Bao, one of the most famous Vietnamese experts in
Incision profession.

The day was beautiful with fair showers and cool breezes when I came to the house of Ta Quang Bao, a famous Vietnamese sculptor. A bit curious was I about that man who owned such tight shakes and friendly smiles. His wife, an Eastern woman typical of hospitality, treated me to so great the welcome that she made me a bit perplexed at first, then quite pleasing. However, my most profound impression on this visit was a number of Bao's sincere and intense answers, of which I couldn't help expressing my appreciation.

"No sooner had the art of monuments appeared in Vietnam than our wars of resistance against French and American colonialists embarked. Its duty at that time was to record our glorious feats and indicate people to look forward to a future with hopes and joys. That's rather remarkable since these monuments neither mentioned our disastrous damage nor focused on enemies' heavy defeats; but honorable were they about heroic military exploits. The undaunted posture of Vietnamese soldiers and folks who had sacrificed themselves for national independence infers some aspects of humaneness."

"Previously to worship Gods, Vietnamese ancestors just set down to write stelaes, they did not make statuettes or monuments. It was until the 20th century when sculpture actually developed into a kind of fine arts. It should be a metaphor to say that sculpture plays the role of a historian who reports and commemorates the motion of time; it reminds everybody of what has been done and what would be done. Here is an example, any ancient court had a civil mandarin impartially narrate all historic events; his works could be distorted by no force and under no circumstance. So on, sculpture heirs his title in modern life. It tells and analyses temporary occurrences so objectively that, to some extent, the works can be historically reliable."

"I belong to the first generation of artists who were systematically trained by the Army. Having experienced harsh trials of battles, I found all these factors having such an enormous effect on my works as well as those of my colleagues. Our common theme is several faces of war, but it doesn't mean that sculpture only springs from goriness and tragedies. I do believe that later on, young artists can design their masterpieces which get inspiration from neither debacles nor sorrow, since the human nature is peace loving. Thanks to their mind full of renovating ideas, diverse subjects and individual views they will turn over a new page of Vietnamese visual art."