BASIC CONCEPTS

— When novelists claim they do not invent it, but hear voices and find stories in their head, they are neither joking nor crazy.

— When characters, narrators, or muses have minds of their own and occasionally take over, they are alternate personalities.

— Alternate personalities and memory gaps, but no significant distress or dysfunction, is a normal version of multiple personality.

— normal Multiple Personality Trait (MPT) (core of Multiple Identity Literary Theory), not clinical Multiple Personality Disorder (MPD)

— The normal version of multiple personality is an asset in fiction writing when some alternate personalities are storytellers.

— Multiple personality originates when imaginative children with normal brains have unassuaged trauma as victim or witness.

— Psychiatrists, whose standard mental status exam fails to ask about memory gaps, think they never see multiple personality.

— They need the clue of memory gaps, because alternate personalities don’t acknowledge their presence until their cover is blown.

— In novels, most multiple personality, per se, is unnoticed, unintentional, and reflects the author’s view of ordinary psychology.

— Multiple personality means one person who has more than one identity and memory bank, not psychosis or possession.

— Euphemisms for alternate personalities include parts, pseudonyms, alter egos, doubles, double consciousness, voice or voices.

— Multiple personality trait: 90% of fiction writers; possibly 30% of public.

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— If you read only recent posts, you miss most of what this site has to offer.

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Wednesday, May 21, 2014

Garcia Marquez Says He Believes in Both Reality and “Parareality”

Gabriel Garcia Marquez was interviewed by Ernesto Gonzalez Bermejo in 1971. The interview was translated by Gene H. Bell-Villada. It included the following comments by Garcia Marquez:

“…I’ve come to believe there’s something we can call ‘parareality,’ which…doesn’t have to do with superstitions or imaginative speculations, but which exists as a result of deficiencies or limits in scientific research, and so we still can’t call it ‘real reality’…my commitment is to all reality, to a literature that refers to all reality…And my big problem with One Hundred Years of Solitude was credibility, because I believed it. But how was I going to make my readers believe it?…”

Of course, this doesn’t mean that Garcia Marquez believed in the complete reality of all the fantastic phenomena in his novel. But it does mean that he did believe in them to some degree or extent, and that, to him, they were not simply “superstitions or imaginative speculations.”

It is part of my thesis in this blog that perhaps 90% of novelists and 30% of the general public have their own versions of “parareality” subjective experiences, as part of their own normal multiple personality.

One of Garcia Marquez’s “parareality” experiences may have been the basis for his short story about multiple personality, “Dialogue with the Mirror,” which I discussed in a recent post.

Gene H. Bell-Villada (Ed.). Conversations with Gabriel Garcia Marquez. Jackson, University Press of Mississippi, 2006.

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