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, May 20, 2017

Joyce Carol Oates’ “The Rooster” and “Happy Chicken”: Two very different versions of her life at age five, the latter narrated not by Oates, but by the chicken.

Persons with multiple personality may give multiple versions of their own lives, because some personalities have memory gaps (dissociative amnesia) for things that other personalities remember, and each personality has its own point of view.

The version given in “The Rooster Attacked Me — and Yet I Loved Him” (1) is very different from the version given in “Happy Chicken 1942-1944,” the second chapter of Oates’s memoir, The Lost Landscape (2).

The “Happy Chicken” chapter, both very funny and very psychologically complex, should be read in the original, but here is my brief note from a past post (search “Oates”):

Dissociative Amnesia at Age Five
The chapter “Happy Chicken” has a different narrator from most of the memoir. Here, Joyce Carol Oates is usually referred to by the narrator as “the little girl.” When the little girl was five years old, she was allowed to help “the Grandmother” collect eggs on their family farm. The narrator says:

“Grandma was the one, you know. The one who killed the chickens.
No! I did not know.
Of course you must have known, Joyce. You must have seen—many times…
No. I didn’t know. I never saw.
But…
I never saw” (2, p. 27).
“Sometime the little girl was breathless and frightened but why, the little girl would not afterward recall” (2, p. 29).

This alternate narrator—in the rhetorical, humorous guise of Joyce’s pet chicken, Happy Chicken—may be an alternate personality who knew things that little Joyce did not want to remember, like who killed the cute, innocent chickens on their family farm.

2. Joyce Carol Oates. The Lost Landscape: A Writer’s Coming of Age. New York, ecco/HarperCollins, 2015.

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