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Kevin Waltman
2/4/19
Seth Chandler
I resonate with Vallowe's words heavily, as I have come under the same literary
struggle as a singer-songwriter. Often times I've doubted in my songwriting ability
and identity, and wondered if I could write conventional pop songs, let alone my
own experimental, off-kilter structures. So there is no doubt in my mine that
Vallowe's kind of identity crisis befalls most writers, if not alone, at least once in
their writing careers, from amateurs to professionals. Vallowe is not alone in
struggling against the tide.
Vallowe concludes her narrative with her vocation to spread God’s love to others,
this vocation of course being writing, but raises worry that everything she writes
comes from an external divine being, and thus is none of her work. The worry in
question leads to Vallowe's further fear developments of whether she possesses
originality or not, which Vallowe injects with the hopelessness of being “no more
original than the characters that I create in my fiction.” (p. 78, Vallowe) Vallowe
further questions her writing identity, asking herself if it is a predestined trait
given to her by God, or if she built up a repertoire based on overthinking
mentorial approval.
As a Christian much like Vallowe, I believe that all of my positive creative traits
are gifts from God, and are what differentiate me from the rest of His children.
Nevertheless, much like Vallowe's own plight, I too suffer with the idea of my
talent being hackneyed, and whether it can actually evoke something organic
and not overly banal. Even at the apex of an inventive songwriting session, I
entertain troubling thoughts that I might've lifted a riff or borrowed a line from
another musician's work by sheer coincidence.
Works Cited:
Vallowe, Emily. “Write or Wrong Identity.”
The Norton Field Guide to Writing With
Readings and Handbook, Richard
Bullock, edited by Maureen Daly Goggin and Francine
Weinberg, UA Custom Edition, 4E, Norton, 2016,