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.

— If you read only recent posts, you miss most of what this site has to offer.

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Thursday, April 11, 2019


“Eleanor Oliphant is completely fine” by Gail Honeyman (post 2): Eleanor’s multiple personality is unacknowledged (both in novel and reviews)

The novel ends optimistically. Eleanor, after being on the verge of suicide, and then on leave-of-absence from work, is now in psychotherapy, is also in a relationship with Raymond, and is back to work. Moreover, she has stopped binging on vodka every weekend, which she might have been doing for more than a decade. And on Wednesday night, the night of the week she’s been hallucinating conversations with her deceased mother for perhaps the last twenty years, she tells the hallucination “Good-bye…And, just like that, Mummy was gone” (1, p. 316).

Throughout the novel, Eleanor has repeatedly specified that her alcohol binges and her hallucinated conversations have always happened in different parts of the week (the binges on weekends and the hallucinations on Wednesdays). Her consistently separating these two things indicates that the hallucinations were not the major stress of Eleanor’s week. Indeed, these hallucinations came in the middle of the best functioning part of her week (Monday-Friday, when she was working full time). This circumstantial evidence suggests that her conversations with “Mum” were actually, in their own way, supportive.

Of course, these conversations were not with Eleanor’s actual Mum. She was not being visited by the spirit of her deceased, abusive mother on Wednesday leaves-of-absence from hell. No, this “Mum” was one of Eleanor’s alternate personalities, and was, relatively speaking, a nice version of her mother, one who kept Eleanor company every Wednesday evening for the last twenty years (during which time Eleanor graduated from university and then worked full-time for the last nine years).

If a person with multiple personality decides to ignore an alternate personality that she has had for twenty years, that alternate personality might become quiet, but will remain behind-the-scenes. “Mum,” like all of her alternate personalities, is a part of who Eleanor is.

1. Gail Honeyman. Eleanor Oliphant is completely fine. New You, Pamela Dorman/Viking Penguin, 2017.

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