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, April 8, 2018


“Where the Past Begins (A Writer’s Memoir)” by Amy Tan: In interview, Amy Tan says, “I write in a fugue state, and I don’t remember what I’ve written”

Amy Tan says she writes in a fugue in an interview on this book with Publisher’s Weekly (1).

In the book itself, she says that she had her most extensive and intensive fugue while writing her third novel: “Looking back, those fifty pages seem like a miracle to me. I have never been in a similar fugue state since, neither in length [twelve hours] nor intensity” (2, p. 38).

The Publisher’s Weekly interview also includes the following:
Q. You’ve observed that the process of writing is “the painful recovery of things that are lost.” Was this book painful?
A. Extremely. I think that’s why I was very reluctant to have it published, because everything about it was so fresh and painful and I needed to protect it more. During the writing I was often left shaking, crying, and dazed. But I was also able to go back and be with the person I was at the time and say, “Yeah that was wrong and shouldn’t have happened,” and cry about it. At the same time I’m an adult saying, “How interesting that you resisted people’s expectations, and how good is that!” (1).

I have just started reading this memoir, and will be interested to see how Amy Tan understands: 1. her fugue states, and 2. conversing with her child-aged self.

2. Amy Tan. Where the Past Begins: A Writer’s Memoir. New York, ecco/HarperCollins, 2017.

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