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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Sunday, June 22, 2014

Novelist Philip Roth Appears to Imply Multiple Personality in 1981 Interview

Interviewer: I was just interested in what your idea of reading is.
Philip Roth: I read fiction to be freed from my own suffocatingly narrow perspective on life and to be lured into imaginative sympathy with a fully developed narrative point of view not my own. It’s the same reason that I write.

According to Roth, when he writes, he is “lured into imaginative sympathy with a fully developed narrative point of view not [his] own.” He doesn’t say that he imagines a point of view different from his own. He says he is lured into imaginative sympathy with a point of view that is not his own and is already fully developed. It is a narrative perspective just as distinct from his own as the narrative perspective of another writer, another person. But since we know, objectively, that it is not the perspective of another person, we would have to call it the fully developed narrative point of view of an alternate personality, which would be experienced as not his own.

Interviewer: [Asks if various of Roth’s characters represent Roth.]
Philip Roth: Am I Lonoff? Am I Zuckerman? Am I Portnoy? I could be, I suppose. I may yet be. But as of now I am nothing like so sharply delineated as a character in a book. I am still amorphous Roth.

When usually asked this question, as he often is, Roth typically gets on his high horse and answers the way he did when he was asked it earlier in this same interview, when he answered, “You should read my books as fiction…”

But here he appears to have switched to a different, less guarded, host personality (see blog glossary). This more “amorphous” host says that he is not Lonoff, Zuckerman, or Portnoy, but he could metamorphose or switch to being one of those other personalities, and he may yet do so.

Alain Finkielkraut (Interviewer). “Interview with Le Nouvel Observateur” (1981), in Philip Roth’s Reading Myself and Others. New York, Vintage International, 2001, pp. 98-110.

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