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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Monday, April 15, 2019


“Labrador” by Kathryn Davis (post 2): Rogni, the Angel, is revealed to be Kitty’s alternate personality, but Kitty doesn’t acknowledge it

Kitty tells her older sister, Willie, about an incident in the past. According to Kitty, her angel, Rogni, had kissed Willie. But Willie says it was Kitty who had kissed her, which means that “Rogni” had been Kitty’s alternate personality.

“And then Rogni came in,” I said. “And he held on to you and kissed you.”
“Rogni?”
“The angel.”
“There were never any angels, Kitty,” you said. “Besides, that was you. You were the one who kissed me. How could you forget that?”
“Cut it out, Willie,” I said [still not understanding that Rogni is an alternate personality] (1, p. 80).

In the past incident, Kitty’s regular personality had been watching her alternate personality, Rogni the angel, kiss her sister. Of course, to the sister, it looked like Kitty was kissing her, because Rogni was Kitty’s alternate personality (using Kitty’s one and only body).

Reviewers, like most readers, tend to attune themselves to the narrator’s perspective, and since the narrator, Kitty, is in denial (“Cut it out, Willie.), the reviewers must have missed the point of the above passage, or at least failed to mention it in their reviews.

1. Kathryn Davis. Labrador. New York, Farrar Straus Giroux, 1988.

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