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, December 15, 2018


Jonathan Lethem (post 2) (interviews): Intends a Split Inconsistent Narrative; Says behavior of protagonist “is a deep confession of my own writerly process”

Split Inconsistent Narrative
Some narration is overtly split between named characters. But other fiction has narrative inconsistencies—sometimes between the first and second halves of a novel—for no clear reason. I have wondered whether the latter, which I call “split inconsistent narrative,” is inadvertent or intentional.

Jonathan Lethem says that for him, it is intentional: “At the start I meant to write a book in two halves. The first a third-person ensemble, with some degree of omniscience…And I knew the second half would be first person. Organized by a compulsive voice” (1, p. 61).

He does not say whether he meant to announce and justify the second-half switch to the reader, but it sounds like his making a split between the first and second halves was, in itself, not only intentional, but compelled by a “voice” (an alternate personality).

Interviewer: “And so oddly enough this narrator, Lionel Essrog, who’s constantly permuting phrases, Tourette’s style, is oddly as well a stand-in for the author because when he narrates the book, the narration doesn’t have any Tourette’s slippages. It’s only in dialogue that these occur, although this is a first-person novel. So it’s as if the book is being written in collaboration with Jonathan Lethem and the two…are finding homes in one another…
Lethem: “I love the description. And certainly I feel it’s a book…with masks on the verge of being ripped off. And certainly it’s always about to confess itself a book about the writing process and it never quite does. And the Tourettec compulsive generation of imagery and language, the compulsive reversals, the almost mechanical inversion of simple ideas or phrases or word forms, is a deep confession of my own writerly process” (1, p. 30).

He claims a “compulsive,” “writerly,” “voice,” which I interpret as a writing alternate personality with creative idiosyncrasies.

1. Conversations with Jonathan Lethem. Edited by Jaime Clarke. Jackson, University Press of Mississippi, 2011.

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