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.

— Each time you visit, search "name index" or "subject index," choose another name or subject, and search it.

— If you read only recent posts, you miss most of what this site has to offer.

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Saturday, September 16, 2017

“Story of O” by Anne Desclos, living as Dominique Aury, writing as Pauline Réage: Nameless, uncreated character; author’s pseudonyms and contradictions.

If you have never read this famous work of literary pornography (1) and are unfamiliar with the controversy surrounding it, I recommend the “The Story of the Story of O,” an article by Carmela Ciuraru (2).

The author, herself, says the novel “was a way of expressing a certain number of childhood and adolescent fantasies that persisted into my later life, that not only refused to go away but came back time and again” (3, p. 73). “In fact, the first sixty pages of O are literally copies of these fantasies. I won’t say dictated by them…but transcribed from them” (3, pp. 88-89).

“I didn’t even have the feeling I was creating a character. What O admits to in this book, what she ‘confesses,’ is the confession of a ghost…without the normal marks of identity, little more than a low voice, like a shadow that murmurs in the night” (3, p. 146).

“For a long time I’ve lived two parallel lives: work and family on the one hand, and love or loves on the other, and I have meticulously kept those two lives quite separate, so separate in fact that the invisible wall between them seems to me normal and natural” (3, p. 147).

“I’m the first to admit that I’m a walking contradiction. It took me a long time to realize that, and even longer to come to terms with it. My use of a pseudonym in my writing is much more than a mere artifice; it reveals and denounces that basic contradiction…” (3, p. 148).

“…this part of me known as Pauline Réage…is not me entirely and in some obscure way is…I move from one me to the other…Story of O is a fairy tale for another world, a world where some part of me lived for a long time…The book of an unknown woman, and that that woman is I continues to amaze me…and all my contradictions are, as you see, still with me” (3, pp. 149-150).

Search “nameless,” “pseudonyms,” and “contradictions” for previous posts on these recurring topics.

1. Pauline Réage. Story of O [1954/1965]. New York, Ballantine Books, 1973.
2. Carmela Ciuraru. “The Story of the Story of O.Guernica, June 15, 2011.  https://www.guernicamag.com/ciuraru_6_15_11/
3. Régine Deforges. Confessions of O: Conversations with Pauline Réage [1975]. New York, Viking Press, 1979.

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