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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Monday, December 11, 2017

“The Odyssey” by Homer (post 3): Opening lines contain an invocation of the Muse, which is not just a literary convention or a metaphor for inspiration.

In the new translation by Emily Wilson, these are the opening lines:

“Tell me about a complicated man.
Muse, tell me how he wandered and was lost
when he had wrecked the holy town of Troy,
and where he went, and who he met, the pain
he suffered in the storms at sea, and how
he worked to save his life and bring his men
back home. He failed to keep them safe; poor fools,
they ate the Sun God’s cattle, and the god
kept them from home. Now goddess, child of Zeus,
tell the old story for our modern times.
Find the beginning” (1).

The usual controversy about the opening lines revolves around translation of the Greek word “polytropos” (literally, many turns)—Odysseus is a man of many turns—which Wilson has translated as “complicated.”

There is usually no controversy about Homer’s invocation of the Muse (the goddess, a child of Zeus), which is assumed to be nothing more than an epic poem convention and a metaphor for the author’s inspiration.

But people who have read this whole blog know better. Fiction writers may actually hear the voice of an alternate personality who knows the story that the writer is going to tell before the writer’s regular self knows it.

For example, the bestselling novelist Sue Grafton calls it her “Shadow,” a Jungian term for the unconscious, but Grafton (regular personality) says she converses with Shadow and that Shadow knows Grafton’s stories before Grafton does.

Are all muses female? No. Another contemporary writer discussed in this blog, Stephen King, says that the alternate personality he converses with and refers to as his “muse” is male.

Are Grafton and King speaking metaphorically or joking? I used to think so. But read the posts on all 150 fiction writers I discuss in this blog, and you will realize that when fiction writers say such things in nonfiction articles and books, they mean it.

Fiction writers take their writing process very seriously.

1. Homer. The Odyssey. Trans. Emily Wilson. New York, WW Norton, 2018.

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