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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Tuesday, December 25, 2018


“Asymmetry” by Lisa Halliday (post 2): Part 2 confused one New York Times reviewer, and Part 3 is a parting shot

The New York Times says this is one of the 10 best books of 2018, and reviewed it more than once, but found Part 2 confusing:

“Trapped at the airport, Amar lets his consciousness wander. He tries to reconstruct periods of his life of which he has no memory — ‘Contemplating the blackouts in their aggregate makes my breath come short’ — and pursues epistemological puzzles with the casual and discursive intelligence of the truly bored” (1).

That is part of what I quoted in my last post, but it was not Amar speaking. It was his brother, Sami. I sympathize with the reviewer, because I, too, was not sure who was speaking, until I saw that it was followed by Amar’s remark, “You would have thought there was no one less erasable than my brother” (2, p. 138).

Part 3 is a return to Part 1’s elderly Ezra Blazer (Philip Roth). In the novel’s last line, and the author’s parting shot, he makes an on-air pass at his young radio interviewer, right after confirming that she is a married mother.

In conclusion, the only thing I noted in this novel that is relevant here is those memory gaps, which, if not necessary to the plot or character development, would reflect the psychology of the author.

2. Lisa Halliday. Asymmetry. New York, Simon & Schuster Paperbacks, 2018.

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