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, September 24, 2017

“The Red and the Black” by Stendhal (post 6): Julien shows not only his photographic memory, but an astonishing switch in manner and personality.

When Julien arrives at the door of the mayor’s house for his new job as children’s tutor, the mayor’s wife sees “a young peasant, really still a child; he was extremely pale and had obviously just been weeping…his eyes so gentle that Madame de Rênal…thought, at first, that this could be a young girl in disguise, coming to ask a favor” (1, p. 25).

Julien will astound everyone at the mayor’s house by reciting, from memory, the New Testament, in Latin, starting from any point chosen at random. However, before that, after the Mayor mentions that he expects a tutor for his children to demonstrate “a certain sobriety” (1, p. 30), Julien goes to his new room in the Mayor’s house, and then comes back with a different manner and personality:

“Finally, Julien appeared. It was a different person who returned to them. To say of this man that he was somber would be a misrepresentation: he was sobriety incarnate. He was introduced to the children, to whom he spoke in a manner that astonished even Monsieur de Rênal” (1, p. 31).

Thus, Julien has the same changeability in personality and physiognomy that Stendhal’s best friend had attributed to Stendhal (see post 4).

1. Stendhal. The Red and the Black: A Chronicle of 1830. Translated by Burton Raffel. New York, The Modern Library, 2003.

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