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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Monday, August 18, 2014

Eugene O’Neill used his acceptance speech for the Nobel Prize in Literature to praise August Strindberg

“It is difficult to put into anything like adequate words the profound gratitude I feel for the greatest honor that my work could ever hope to attain, the award of the Nobel Prize…

“…the greatest happiness this occasion affords…is the opportunity it gives me to acknowledge…the debt my work owes to that greatest genius of all modern dramatists…August Strindberg…

“It was reading his plays…that, above all else, first gave me the vision of what modern drama could be, and first inspired me with the urge to write for the theatre myself…

“Of course, it will be no news to you in Sweden that my work owes much to the influence of Strindberg. That influence runs clearly through more than a few of my plays and is plain for everyone to see…

“…I am…proud of my debt to Strindberg…For me, he remains…the Master, still to this day more modern than any of us, still our leader. And it is my pride to imagine that perhaps his spirit, musing over this year’s Nobel award for literature, may smile with a little satisfaction, and find the follower not too unworthy of his Master.”
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