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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Friday, May 12, 2017

“The Great Gatsby” by F. Scott Fitzgerald (post 5): At seventeen, James Gatz’s alternate personality, Jay Gatsby, previously behind the scenes, takes over.

“James Gatz of North Dakota…was really, or at least legally, his name. He had changed it at the age of seventeen…I suppose he’d had the name ready for a long time, even then. His parents…unsuccessful farm people—his imagination had never really accepted them as his parents at all…So he invented just the sort of Jay Gatsby that a seventeen-year-old boy would be likely to invent, and to this conception he was faithful to the end” (1, p. 98).

Multiple personality starts in childhood, and as the narrator says, “Gatsby” had probably first arisen in Gatz’s imagination long before age seventeen, as an alternate identity who was not the child of unsuccessful parents. But it was not until age seventeen that Jay Gatsby, James Gatz’s alternate personality, took over.

A psychological explanation is most likely, because the name change has no socioeconomic advantage. If his family name had been Rocke, and he had changed it to Rockefeller, then that might have been a rational scheme. But the change from Gatz to Gatsby is socially meaningless. Any person from a rich family knows that there is no rich family by that name, and infers that Gatsby’s sudden riches must be based on criminal activity such as bootlegging.

Is there any other psychological explanation? Why not just say that James Gatz wanted a fresh start? But the American dream is rags to riches, or in the political arena, from the log cabin to the White House. A man is proud to be the first successful one in his family.

So why does F. Scott Fitzgerald include the Gatz to Gatsby name change? Does he want to raise the issue of multiple personality? If he doesn’t, then it is an example of what I call “gratuitous multiple personality”: the only reason it is in the novel is that it reflect’s the author’s own psychology.

1. F. Scott Fitzgerald. The Great Gatsby [1925]. New York, Scribner, 2004.

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