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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Thursday, March 28, 2019


“Milkman” by Anna Burns (post 3): 2018 Booker Prize novel begins with nameless characters and other indications of multiple personality

In the previous two posts based on published interviews, Anna Burns said that her stories and characters, somehow, just came to her. She said that she, the personality being interviewed, was not the most authoritative part of her mind in regard to what her novels meant.

I have just started Milkman, which appears to be about the gender and social politics of Northern Ireland in the 1970s. The nameless first-person narrator is an 18-year-old woman, who reads nineteenth-century novels like Ivanhoe, “because I did not like the twentieth century” (1, p. 5).

“Milkman” is the 41-year-old man who has been harassing her. “Maybe-boyfriend” is the young man she has been dating.

Namelessness, leading to the practical necessity of inventing nicknames (“milkman”) or naming-by-function (“maybe-boyfriend”), suggests that the novel was written by a person with multiple personality. Why do I say that?

As a psychiatrist, when I would see a person with multiple personality, I would often find that an alternate personality didn’t have a name. So, as a practical matter, I had to refer to that alternate personality by their major function or emotion; e.g., “poet” if they wrote poems or “angry one” if that was their characteristic emotion. And that is the kind of naming process used in this novel.

Another indication of multiple personality is the protagonist’s referring to herself as having “parts” that have minds of their own: “Another part of me though, was thinking, is he making this up” (1, p. 9).

And her reaction to her maybe-boyfriend’s sexual touching of her neck suggests multiple personality:

“Any time the fingers were there — between my neck and skull — I’d forget everything — not just things that happened moments before the fingers, but everything — who I was, what I was doing, all my memories, everything about anything, except being there, in that moment, with him” (1, p. 19).

A person whose neck was an erogenous zone, but who didn’t have multiple personality, might become very aroused, be very much in the moment, might even have an orgasm, but would not actually forget who she was and all her memories. What is being described is the person’s host personality losing control, just prior to switching to an alternate personality.

1. Anna Burns. Milkman. Minneapolis Minnesota, Graywolf Press, 2018.

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