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, March 31, 2018


“Trilby” by George du Maurier (post 4): Tone-deaf Trilby, now superstar singer, La Svengali (Mrs. Svengali), seems to speak neither English nor French

“…his real name is Adler; his mother was a Polish singer; and he was a pupil at the Leipsic Conservatorio. But he’s an immense artist, and a great singing-master, to teach a woman like that! and such a woman! belle come un ange — mais bête come un pot [as beautiful as an angel — but as stupid as a pot]. I tried to talk to her — all she can say is ‘ja wohl,’ or ‘doch,’ or ‘nein,’ or ‘soh!’ not a word of English or French or Italian, though she sings them, oh! but divinely! It is ‘il bel canto’ come back to the world after a hundred years. Every voice a mortal woman can have — three octaves — four!…Everything that Paganini could do with his violin, she does with her voice — only better — and what a voice!” (1, p. 195-197).

1. George du Maurier. Trilby. Edited by Leonee Ormond. London, Everyman, 1994.

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