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, September 19, 2016

“Stop-Time” by Frank Conroy (post 3): Amnesia—a multiple personality memory gap—for the building he lived in until he was eight years old.

This memoir is the story of a chaotic, puzzling childhood, which, Conroy says, is “a past I didn’t understand, a past I feared” (1, p. 278).

The key to this psychological mystery is his history of memory gaps, one instance of which I quoted in my previous post, from the beginning of the memoir. Another example is found toward the end of the memoir:

“…I would find myself staring up at that particular building. Because I’d been told, I knew I’d lived there for many years as a child. Passing it my mind became still. All the noises of the world stopped abruptly, like a movie running on without a sound track. I had lived in the building until I was eight years old and yet I lacked memories of it. No image of the apartment, no image of having lived there, no image of myself. It was spooky” (1, p. 212).

This is not ordinary forgetting. It is impossible for Conroy to have had no memories at all of where he lived until he was eight years old. The memories must have been somewhere. If they were not held by his regular personality, then they must have been held by one or more alternate personalities.

If I had interviewed him, I could have brought out and spoken with these alternate personalities. And what they told me could have been corroborated by family, friends, neighbors, and an inspection of the inside of the building itself.

1. Frank Conroy. Stop-Time [A Memoir, 1967]. New York, Penguin Books, 1977.

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