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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Sunday, December 9, 2018


“The Mayor of Casterbridge” by Thomas Hardy: Did Michael Henchard sell his wife because he was drunk or because he had multiple personality?

As husband, wife, and daughter walked along the country road, they were not very affectionate, but they were tired and hungry, he was between jobs, and they were low on money.

When they finally came to a town fair and got something to eat, each time Michael Henchard had rum added to his food, his demeanor changed: first he became serene, then jovial, then argumentative, and “at the fourth, the qualities signified by the shape of his face, the occasional clench of his mouth, and the fiery spark of his dark eye began to tell in his conduct; he was overbearing—even brilliantly quarrelsome” (1, p. 9).

Then, he offered to sell his wife and daughter.

Neither the crowd nor his wife could shrug off his behavior, because he seemed coherent and sincere. His wife had seen him act like this on a number of prior occasions, and she knew he did this only when he drank, but she was fed up.

The next morning, when Henchard awoke, his wife and daughter were gone. He found her wedding ring. And he found the money he’d been paid for them in his pocket. All this circumstantial evidence convinced him that his “dim memories…were not dreams” (1, p. 14).

He set out to find them, thinking, “she knows I am not in my senses when I do that!” (1, p. 15).

Comment
It appears that when Henchard drank, he switched to an alternate personality, who was angry with Henchard, and considered the woman to be Henchard’s wife, not his wife, anyway.

1. Thomas Hardy. The Mayor of Casterbridge [1886]. New York, W. W. Norton, 2001.

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