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.

— Each time you visit, search "name index" or "subject index," choose another name or subject, and search it.

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

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Friday, June 5, 2015

Toni Morrison’s God Help the Child (Post 2): Book Reviewers Don’t Know That Childhood Trauma Raises the Possibility of Multiple Personality

A major theme of this novel is the lasting effect of childhood trauma. And since one possible lasting effect is multiple personality, anyone reviewing this novel should consider it, especially since there is such a blatant symptom as sexual affairs with amnesia.

To be fair, reviewers are misled by the author, who clouds the issue of these sexual affairs with alcohol and drugs—use of which seems out-of-character for this character—and then quickly changes the subject.

Moreover, it is misleading of the author to have no character or narrator who even considers the possibility of multiple personality—which should be an obvious consideration when you have both childhood trauma and episodes of amnesia.

And then there are the main character’s body-image hallucinations, among the most memorable things in the novel. Most reviewers have nothing much to say about it, which is lazy. They should have researched what such symptoms could indicate.

After all, Morrison, being a serious writer, must be assumed, until proved otherwise, to be following Shakespeare’s advice to “hold the mirror up to nature.” Which means that a reviewer should assume, until proved otherwise, that those body-image hallucinations are real and true psychological phenomena. As I discussed in the last post, they are.

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