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.

— Share site with friends.

Wednesday, January 4, 2017

“Kim” (post 1) by Rudyard Kipling (post 4): In a novel of detailed description, Kim is referred to as a boy, but his age is not clearly given.

Most reviewers either ignore the protagonist’s specific age or jump to the conclusion that he is thirteen, based on this in Chapter 3:

“Had Kim been at all an ordinary boy, he would have carried on the play; but one does not know Lahore city, and least of all the fakirs by the Taksali Gate, for thirteen years without also knowing human nature” (1, p. 44).

However, back in Chapter 1, the third-person narrator had said that Kim, as a “three-year-old baby” (1, p. 4), had been under the care of his late father. And certainly, Kim had not known the fakirs by the Taksali Gate for those three years.

I am still reading Kim and will reserve judgment. But since, in childhood, a few years one way or the other is significant, this vagueness about Kim’s age needs explanation. Maybe I will conclude that Kim is thirteen and the ambiguous way it is stated was inadvertent. Or maybe it will bear on the issue of identity.

1. Rudyard Kipling. Kim [1901]. Edited by Zohreh T. Sullivan. New York, W.W. Norton, 2002.

Note (added January 7, 2017): Kipling’s error is most easily explained by the fact that he had lived in Lahore as an adult—http://www.nytimes.com/1989/01/29/travel/lahore-as-kipling-knew-it.html?pagewanted=all&pagewanted=print—and so he learned about life there for the full time he was there (whereas, Kim could not have learned about life for the full time he was there, because part of that time he was a baby).

No comments:

Post a Comment

Thank you for taking the time to comment (whether you agree or disagree) and ask questions (simple or expert). I appreciate your contribution.