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, June 16, 2017

“The Love Song of J. Alfred Prufrock” by T. S. Eliot (post 2): Interpretation suggested by Eliot’s statement that “You and I” are alternate personalities.

As previously discussed, Eliot, himself, was not of one mind about the meaning of this poem, so far be it from me to claim to understand it. And since I’ve read very little about how others have interpreted this poem, I don’t know whether the following will be old or new.

The poem’s first lines:
“Let us go then, you and I, 
When the evening is spread out against the sky 
Like a patient etherized upon a table; 
Let us go, through certain half-deserted streets…” (1). 

Although the punctuation appears to indicate that “the evening” is “Like a patient…,” I interpret the lines to mean that “you and I” are “Like a patient…,” because people can get etherized (not evenings), and “you and I” are alternate personalities of a single person (see prior post), the single, etherized patient.

What is the significance of “etherized”? Ether is an old, obsolete anesthetic, but it also has a history as a recreational drug (2) to which Eliot’s first wife was addicted (3). I don’t know whether Eliot ever experimented with ether, and he started writing this poem in 1910, five years before he got married. But he may have heard of its recreational use, so his use of it in this poem may indicate that “you and I” are in a drugged, trance, or altered state of consciousness. The poem is about their “trip” on ether.

The poem’s refrain:
“In the room the women come and go 
Talking of Michelangelo.”
suggests that “you and I” are not really going anywhere, but remain in a room where women come and go.

Line 31:
“Time for you and time for me,”
suggests that alternate personalities “you and I” will each have his own time in control.

The last stanza begins with “We,” giving a final emphasis to the idea that “you and I” go together.

1. “The Love Song of J. Alfred Prufrock” by T. S. Eliot. https://www.poetryfoundation.org/poetrymagazine/poems/detail/44212
2. Wikipedia. “Ether addiction.” https://en.wikipedia.org/wiki/Ether_addiction
3. Louis Menand. “The Women Come and Go: The love song of T. S. Eliot.” The New Yorker, September 30, 2002. http://www.newyorker.com/magazine/2002/09/30/the-women-come-and-go

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