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.

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Saturday, August 4, 2018


“Winnie-the-Pooh” by A. A. Milne (post 3): Poems, not by brain, “find you”; alternate personalities named “Hoo”; Milne “never sentimental” about children 

“Did you make that song up?”
“Well, I sort of made it up,” said Pooh. “It isn’t Brain…but it comes to me sometimes” (1, p. 247).

“Because Poetry and Hums aren’t things which you get [by using your brain], they’re things which get you. And all you can do is to go where they can find you” (1, p. 312).

From author’s introduction to “When We Were Very Young,” a collection of children’s poems, some written by “Hoo,” the name of a group of alternate personalities, ranging in age from four to twenty-eight:

“You may wonder sometimes who is supposed to be saying the verses. Is it the Author, that strange but uninteresting person, or is it Christopher Robin, or some other boy or girl, or Nurse, or Hoo?…I don’t know if you have ever met Hoo, but he is one of those curious children who look four on Monday, and eight on Tuesday, and are really twenty-eight on Saturday…” (1, p. 350).

Note: In multiple personality, it sometimes happens that a group of alternate personalities will be referred to by one collective name rather than be named individually. A previously cited example is Oscar Wilde’s The Picture of Dorian Gray, in which the name “Dorian Gray” refers to a group of alternate personalities. Search “Dorian Gray.”

“Never Sentimental”
Another indication that alternate personalities may have been involved in the writing of Milne’s children’s books is the remarkable discrepancy between the sentimental feelings that readers sense in these books and the unsentimental attitude that Milne (host personality) expresses in his autobiography:

Milne says he is “not inordinately fond of or interested in children…I have never felt in the least sentimental about them” (2, p. 282). He says “It is easier in England to make a reputation than to lose one. I wrote four ‘Children’s books,’ containing altogether, I suppose, 70,000 words—the number of words in the average-length novel” and then “I gave up writing children’s books. I wanted to escape from them…” but the public wouldn’t let him (2, p. 286).

1. A. A. Milne. The Complete Tales & Poems of Winnie-the-Pooh [1924-1928]. Decorations by Ernest H. Shepard. New York, Dutton Children’s Books, 2001.
2. A. A. Milne. Autobiography. New York, E. P. Dutton, 1939.

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