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, February 1, 2016

“The Bluest Eye” (post 1) by Toni Morrison (post 10): Pecola demonstrates the self-hypnotic process by which traumatized children create alternate personalities.

I have just started Toni Morrison’s first novel, “The Bluest Eye.”

Pecola, once again, is witnessing a very frightening, violent fight between her parents.

“She struggled between an overwhelming desire that one would kill the other, and a profound wish that she herself would die…” (1, p. 43).

“Please, God,” she whispered into the palm of her hand. “Please make me disappear.” She squeezed her eyes shut. Little parts of her body faded away…Her fingers went, one by one; then her arms disappeared all the way to the elbow. Her feet now. Yes, that was good. The legs all at once…Her stomach…Then her chest, her neck. The face…only her eyes were left…” (1, p. 45).

I don’t know what will happen in the rest of the novel, but the above seems to be a description of the way that a traumatized child would develop multiple personality.

Once the regular self completely “disappears,” an alternate personality, who can better cope with the situation, can take over. From then on, whenever Pecola gets frightened, she could instantaneously switch to the alternate personality. When the frightening situation ends, she would switch back.

Since the regular personality would have “disappeared” for the period of time that the alternate personality was out, the regular personality might have a memory gap for that period of time.

But I have just started reading, and I don’t know if any kind of multiple personality scenario will play out in the rest of the novel.

1. Toni Morrison. The Bluest Eye [1970]. New York, Alfred A. Knopf, 2000.

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