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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Wednesday, July 5, 2017

“Gone With the Wind” by Margaret Mitchell (post 3) and “Jane Eyre” by Charlotte Brontë (post 10): Scarlett and Jane have green eyes, but are not beautiful.

Gone With the Wind begins with these remarkable words: “Scarlett O’Hara was not beautiful…”

People who are more widely read than I am may be able to think of many romantic heroines who are explicitly described as not beautiful, but the only other one who comes readily to my mind is Jane Eyre.

True, both Scarlett and Jane do have green eyes, which, I suppose, is meant to show that they are special. Nevertheless, to begin a thousand-page romantic novel with an explicit statement that the heroine is not beautiful is rather daring (whether it should be or not).

“Scarlett O’Hara was not beautiful, but men seldom realized it when caught by her charm as the Tarleton twins were.”

Why does the opening line of this novel feature twins? Certainly, Scarlett’s attractiveness—she was attractive in spite of not being beautiful—would have been better emphasized by the attentions of two men who were not twins, since twins might be expected to agree, making their two opinions hardly better than one opinion.

So why make them twins?

I don’t know Margaret Mitchell’s conscious rationale, but twins are a literary metaphor for multiple personality—since, sharing the same body, alternate personalities look like twins—which I thought I’d mention.

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