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, September 1, 2017

“Little Women” by Louisa May Alcott (post 3): Is Laurie complimenting Beth, or saying that her music is composed by an alternate personality?

In the brief passage quoted below, there are two ways to interpret what Laurie says to Beth. Most readers rely on the narrator [and Jo], who interpret what Laurie says to Beth as a “compliment.”

However, if narrators are not always reliable, and you entertain the possibility that Laurie means what he says, then what he may be saying is that Beth has an alternate personality who takes over when she is alone, and composes music of which her regular, “stupid” personality is unaware.

“…There is not much danger that real talent or goodness will be overlooked long; even if it is, the consciousness of possessing and using it well should satisfy one…” [says Mrs. March].

“…I knew a girl, once, [says Laurie] who had a really remarkable talent for music, and she didn’t know it; never guessed what sweet little things she composed when she was alone, and wouldn’t have believed it if any one had told her.”

“I wish I’d known that nice girl, maybe she would have helped me, I’m so stupid,” said Beth, who stood beside him, listening eagerly.

“You do know her, and she helps you better than any one else could,” answered Laurie…Beth suddenly turned very red, and hid her face in the sofa-cushion, quite overcome by such an unexpected discovery.

“…Beth…could not be prevailed upon to play for them after her compliment” (1, p. 61, book 1, chapter VII).

This is as far as I’ve read, and I’ve been paying attention mostly to Jo. But now that I think of it, Beth is the character whose behavior has been most puzzling.

1. Louisa May Alcott. Little Women or Meg, Jo, Beth and Amy [1868-69]. New York, W. W. Norton & Company, 2004.

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