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.

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Thursday, January 19, 2017

Namelessness in “Boyhood” by J. M. Coetzee (post 2): The memoir’s only comment bearing on why the narrator makes the protagonist nameless.

I find that the memoir itself gives a reason for the protagonist's namelessness:

“He seethes with rage all the time. That man, he calls his father when he speaks to his mother, too full of anger to give him a name: why do we have to have anything to do with that man? Why don’t you let that man go to prison?” (1, p. 132).

Thus, according to the only comment in the text about why anyone would refer to another person by pronoun and not by name, the narrator of this memoir may be doing this to express anger at the protagonist.

And while a person could be angry at himself, I think that it would not occur to a person to express that anger by making himself nameless. It is a way to express anger at someone else.

So the narrator is relating to the protagonist as though the latter were someone else at whom he is angry. And the only sense in which that could be true would be if the narrator and protagonist were alternate personalities and saw themselves as different people.

(Search "nameless" and "namelessness" for past posts regarding other writers.)

1. J. M. Coetzee. Scenes from Provincial Life: Boyhood [1997], Youth [2002], Summertime [2009]. New York, Penguin Books, 2011.

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