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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Thursday, October 1, 2015

Emily Fox Gordon’s New York Times Book Review of Joyce Carol Oates’ “Lost Landscape” misses the alter egos and amnesia of Oates’ multiple personality

TO THE EDITOR:
In her review of Joyce Carol Oates’ memoir “The Lost Landscape” (Sept. 20), Emily Fox Gordon uses the terms “doppelgängers" and “mirror-self,” suggesting a theme of alter egos.
      Gordon also mentions the chapter “Happy Chicken 1942-1944, which is narrated by Oates’s favorite Rhode Island Red (an arch conceit, but it works)…”
      Let me connect alter egos with Happy Chicken. On page 27 of the memoir, the narrator talks with Joyce:
“Grandma was the one, you know. The one who killed the chickens.”
“No! I did not know.”
“Of course you must have known, Joyce. You must have seen—many times…”
“No. I didn’t know. I never saw.”
“But…”
“I never saw.”
Since Joyce had amnesia for part of those events, the story had to be narrated by an alter ego (an alternate personality), who remembered everything.
KENNETH A. NAKDIMEN

P.S. Gordon says Oates “…found happiness in her engagement and marriage to Raymond Smith [for forty-seven years]. But, oddly enough, no sooner does Oates introduce him to the reader than she abruptly pulls down the narrative curtain. ‘I am sorry,’ she writes, ‘but I am not able to write about Ray here.’ ‘Oh,’ thinks the startled reader, who had been following along sympathetically, ‘I hadn’t meant to pry.’ ”

Now, why, in a memoir about her whole life, was Oates “not able” to discuss anything—and there must have been many good things—about her marriage of forty-seven years (not to mention her remarriage)?

I cannot overemphasize how typical this is for the way persons who have multiple personality tell you their life story. Why? Because each of the person’s personalities may know of, but does not actually remember, the parts of the person’s life that were conducted by other personalities. And, evidently, in Oates’ case, the personality in charge of writing this memoir is not the personality who was in charge of the marriage.

So when the personality in charge of writing this memoir says that she is “not able” to talk about the marriage, she means exactly what she says.

NOTE: Please read Oates’ description of her multiple personality—in quotations from her published nonfiction Journal and other published nonfiction—in last month’s post.

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