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, November 3, 2014

Iris Murdoch’s first-person narrators were all male, because those novels were written by a male-identified, male-chauvinist, alternate personality.

In 1976, an interviewer asked Iris Murdoch (1919-1999) why all her novels that were written in the first person had a male narrator/hero. She answered:

Murdoch: I identify with men more than women, I think. I don’t think it’s a great leap; there’s not much of a difference, really. One’s just a human being. I think I’m more interested in men than women. I’m not interested in women’s problems as such, though I’m a great supporter of women’s liberation—particularly education for women—but in aid of getting women to join the human race, not in aid of making any kind of feminine contribution to the world. I think there’s a kind of human contribution, but I don’t think there’s a feminine contribution (1, p. 48).

Consulting two biographies, I see that Murdoch was an extraordinarily variable person. She had affairs with men and women; she was alternately and simultaneously heterosexual and lesbian. She was reported to have “fantasied in her inner life that she was a male homosexual”  (2, p. 164), but she also had a lesbian relationship for many years. In general, “she had a striking ability to be different with different friends” (3, p. 538).

So it appears that her novels that had male first-person narrators were written by the male-identified, male-chauvinist personality, who answered the interviewer’s question. But her history of having dramatically and distinctly different senses of identity and relationships indicates that this male narrator was not her only personality.

It is common for people with multiple personality to have an opposite-sex personality, as was dramatized in Ernest Hemingway’s The Garden of Eden (see past post).

1. Gillian Dooley (ed). From a Tiny Corner in the House of Fiction: Conversations with Iris Murdoch. University of South Carolina Press, 2003.
2. A. N. Wilson. Iris Murdoch as I Knew Her. London, Hutchinson, 2003.
3. Peter J. Conradi. Iris Murdoch: A Life. New York, W.W. Norton, 2001.

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