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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Sunday, August 27, 2017

Louisa May Alcott: Before “Little Women,” she wrote “blood-and-thunder” stories with femmes fatales, not only for money, but because A. M. Barnard preferred.

“I fancy ‘lurid’ things,” Louisa May Alcott wrote in her 1850 journal, “if true and strong also” (1, p. xii). And she said in conversation, “I think my natural ambition is for the lurid style” (1, p. xxvi). So who was this who expressed a preference for the lurid, Louisa May Alcott (author of Little Women) or A. M. Barnard (her usual pseudonym) and the writer of works she published anonymously?

Most of her sensational tales, what she called her “blood-and-thunder” works, were published under a pseudonym or anonymously, but “The Mysterious Key has a male hero…and…was published over the name of Louisa May Alcott. The possibility suggests itself that Louisa insisted upon secrecy less for her blood-and-thunder stories in general than for her passionate and angry heroines in particular” (1, p. xvi).

“Her characterizations were natural and subtle and her gallery of femmes fatales forms a suite of flesh-and-blood portraits. Her own anger at an unjust world she transformed into the anger of her heroines, who made of it a powerful weapon with which to challenge fate. The psychological insights of A. M. Barnard [her pseudonymous personality] disclose the darker side of the character of Louisa May Alcott” (1, p. xxviii).

Stephen King infers that there were “two Louisa May Alcotts,” and although the conventional one, the author of Little Women, came to predominate, the sensational tales give us “…a fascinating look into a divided mind that was both attracted to themes of violence and sexuality and ashamed by its own interest” (2).

1. Louisa May Alcott. Behind a Mask: the Unknown Thrillers of Louisa May Alcott. Edited and with an Introduction and Afterword by Madeleine Stern. New York, William Morrow and Company, 1975/1995.
2. Stephen King. “Blood and Thunder in Concord.” New York Times, September 10, 1995. http://www.nytimes.com/books/97/04/13/nnp/18425.html?mcubz=0

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