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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Sunday, August 12, 2018


“The English Patient” by Michael Ondaatje: In chapter one, Ondaatje is comfortable with having both characters nameless, at least temporarily

I have just started this novel, which I chose because it is so celebrated (2018 Golden Man Booker). The only thing I had read that might have made it relevant to multiple personality was that the title character is misidentified as English because he has amnesia (memory gaps are a cardinal symptom of multiple personality).

However, the 25-page first chapter would appear to show that if the so-called English patient has claimed amnesia, he has lied. Flashbacks to when he had been in a plane crash, was severely burned, and had been cared for by Bedouins, indicate that the Bedouins had valued him for his knowledge and memory about weapons (the story takes place toward the end of WWII) and that his autobiographical memory had been intact.

The nurse who is now caring for him does appear to be having a nervous breakdown of some sort, and it is certainly possible that it will turn out to be a dissociative disorder (the diagnostic category of multiple personality). But so far, all I can say is that she seems to have that nonspecific condition which I call “literary madness.”

The only other thing in this first chapter that might suggest multiple personality is that both patient and nurse are nameless. Namelessness is a recurring subject in this blog, because multiple personality often includes nameless alternate personalities. And even though, as I gather, these two characters will be getting names, the question arises as to why the author is comfortable with having them nameless even for a while. Is that the way the characters initially came to him? (I am not inclined to accept literary technique as a sufficient explanation.)

But if that turns out to be all there is to suggest multiple personality, I am grasping at straws.

1. Michael Ondaatje. The English Patient. London, Bloomsbury, 1992.

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