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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Wednesday, March 13, 2019


“Updike and I” by John Updike (post 2): Essay on creative process, from book that seems to assume writers’ multiple personality is an open secret

According to the back cover, “Editor Daniel Halpern was profoundly curious about the creative process—so he asked fifty-five world-renowned writers to briefly muse on ‘the fictional persona behind the scenes,’ the alter(ed) ego who takes over when there is true literary work to be done” (1).

In explaining to the writers what he wanted, Halpern mentioned the famous mini-essay by Jorge Luis Borges, “Borges and I,” which people may think is a joke. But neither Borges’s essay nor Updike’s is labeled as fiction.

Here is an excerpt from “Updike and I”:
“…people, mistaking me for him, stop me on the street and ask me for his autograph. I am always surprised that I resemble him so closely that we can be confused…they do not realize that he works only in the medium of the written word…Thrust into ‘real’ time, he can scarcely function, and his awkward pleasantries and anxious stutter emerge…Myself, I am rather suave. I think fast, on my feet, and have no use for the qualificatory complexities…in which he is customarily mired. I move swiftly and rather blindly through life, spending the money he earns…

“That he takes up so much of my time…I resent…he spends more and more time being Updike, that monster of whom my boyhood dreamed…

“Suppose, some day, he fails to show up? I would attempt to do his work, but no one would be fooled” (1, pp. 182-183).

There are two schools of thought about the idea that most fiction writers have what I call “multiple personality trait.” Some people think the idea is ridiculous. Others think it is an open secret. Halpern appears to think it is an open secret. And maybe most fiction writers do, too. But they like to discuss it with a sense of humor, affording them plausible deniability.

1. Daniel Halpern (Editor). Who’s Writing This? Fifty-Five Writers on Humor, Courage, Self-Loathing, and the Creative Process. New York, Ecco/Harper Perennial, 1995.

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