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, August 26, 2017

“Steppenwolf” by Hermann Hesse (post 5): Main theme is the art of the novel, which entails reorganization of the novelist’s alternate personalities.

The end of the novel elaborates the idea discussed in the last post, that a constructive reorganization of one’s multiple personalities is the art of life.

It is a potentially helpful insight for what I would guess to be up to thirty percent of the general public, and what I would estimate to be over ninety percent of novelists, who have a normal version multiple personality; and for the approximately one percent of the public who have the clinical version.

Since Steppenwolf was written by a novelist, and since novelists are so likely to have multiple personality, I interpret the main theme of this novel to be the psychology and creative process of novelists.

Novelists have many people (alternate personalities) inside them, and the art of the novelist’s life—the art of the novel—is the reorganization of the novelist’s alternate personalities.

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