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, June 25, 2016

Nora Roberts (post 3) writes over forty novels in which both protagonists—Eve Dallas and Roarke—are survivors of child abuse and don’t know their own names.

“Eve Dallas” is a pseudonym. It is the name she was given at age eight when she was found in Dallas and had amnesia. Roarke does not know his first name (and there is no record of his ever having one). Nora Roberts—already a pseudonym for Eleanor Robertson—writes this series as J. D. Robb. Both Eve Dallas and Roarke had been abused in childhood by their fathers.

The only psychological condition that is defined by its having identity issues as a result childhood trauma is multiple personality, which is mentioned only once (so far) in this “romantic suspense,” police detective, series. It is mentioned in Seduction in Death (1), but the way it is mentioned is peculiar, because, seemingly, there is no good reason to raise the issue.

In the course of trying to find out who murdered several women, the question arises as to whether it was one man, more then one man, or one man with multiple personality. Roarke raises the possibility that the murderer might have “different personalities” (1, p. 95). The police psychologist says it is possible: “While multiple personality syndrome is rare, except in fiction, it does exist.” Eve Dallas says, “I don’t think this is MPS. I read up on it last night” (1, p. 133).

But the reader knows it was two men. And it seems very unlikely that the police would consider something they think of as such a remote possibility. So why, if it is not used as a red herring for the reader, and is implausible to the police, is multiple personality brought up by Roarke, confirmed to exist by the psychologist, and read up about by Eve Dallas?

J. D. Robb must be telling the reader something about these characters, perhaps also about herself.

Note added later the same day: In a previous post, I quoted the author, at a book-signing, referring to J. D. Robb as a bitch. But elsewhere she has said that the J and D stand for the names of her two sons, Jason and Dan, so it is not clear whether the J. D. Robb pseudonym—or, in my terminology, NAP (narrative alternate personality)—is female or male.

1. J. D. Robb (Nora Roberts). Seduction in Death. New York, Berkley Books, 2001.

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