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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Saturday, November 21, 2015

How was J. K. Rowling’s Harry Potter and the Philosopher’s Stone written? As a childhood paracosm? Or by a child-aged alternate personality?

Reading this first novel of the Harry Potter series, I have noticed certain unnecessary inconsistencies. I don’t mean big things, like the fact that Harry can fly on a broom instinctively, while other magic needs training, special words, potions, etc. I accept that Harry, as the hero, must be granted some innate superiority. The story requires it, so it doesn’t bother me.

The implausibilities I mean are trivial, unnecessary ones, like the fact that the boarding school for wizards, which is so magical in many ways, has cold hallways in winter. If it doesn’t have central heating, why doesn’t it have some magical way to heat the hallways? I don’t believe that an adult narrator would have been comfortable with that kind of inconsistency. It is not necessary for the story, and it would violate an adult author’s sensibility.

Perhaps the story was written in childhood: a paracosm, an imaginary world, comparable to the one created in childhood by the Brontës. Or perhaps the story was written in adulthood by a child-aged alternate personality.

We know that Joanne Rowling is an adult, but how old is J.K.?

J. K. Rowling. Harry Potter and the Philosopher’s Stone. London, Bloomsbury, 1997/2004.

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