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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Friday, September 14, 2018


“Lost in Yonkers” by Neil Simon (post 3): Author, whose quotes in past posts suggested he had multiple personality, identifies most with Aunt Bella

After winning the Pulitzer Prize in 1991, Lost in Yonkers was published with a cover picture of two adolescent boys on an empty street (1). But it turns out that neither of those boys is the main character. It is their Aunt Bella.

“As the story began to reveal itself,” Neil Simon said, “I found myself identifying most with Aunt Bella. She is the one I loved, the heroine of what became Lost in Yonkers” (2, p. 568).

In fact, all the play’s other characters are two-dimensional. Once you learn their main trait, you know what to expect. Only Aunt Bella is puzzling and complex.

Is she retarded? No. Crazy? No. Forgetful and disoriented? Sometimes, but at other times she knows things that others don’t. Is she, as is often said, childish? In her plans to get married and open a restaurant, she is thought to be childish and unrealistic, but as the play ends, it is implied that she might know what she is doing.

Two things suggest that she has multiple personality: 1. her puzzling inconsistency (search “puzzling inconsistency” in this blog for past posts on this clue to diagnosis) and 2. the fact that Neil Simon identified with her.

1. Neil Simon. Lost in Yonkers. New York, Random House, 1991.
2. Neil Simon. Neil Simon’s Memoirs: Rewrites [1996] and The Play Goes On [1999]. New York, Simon & Schuster, 2016.

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