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, April 28, 2019


“Les Misérables” by Victor Hugo (post 2): Jean Valjean, the main character, undergoes an internal struggle and becomes “separated from himself”

In the first hundred pages, the narrator continues to refer to himself as “we,” except for one instance of “I” (1, p. 75), without explanation.

Jean Valjean, the main character, is introduced (1, p. 55). He is a 46-year-old man, who has just been released after nineteen years of brutal imprisonment for stealing a loaf of bread. His yellow passport will ensure perpetual persecution by society, against which he feels violent hate.

However, he encounters the good Bishop Bienvenu, whose respectful, kindly treatment evokes a countervailing attitude in Jean Valjean, so that “…a gigantic and decisive struggle had begun between…wickedness and…goodness…One thing was certain…he was no longer the same man…and was already so far separated from himself…He veritably saw this [wicked] Jean Valjean, this ominous face, before him. He was on the point of asking himself who that man was, and he was horror-stricken by it…He beheld himself then, so to speak, face to face…Where did he go? Nobody ever knew” (1, pp. 97-99).

Has the brutalized, wicked Jean Valjean been replaced by a good personality? Will the narrator continue to discuss radical, personal dividedness, and the switching between alternate personalities, in spiritual terms only? On the back cover, Hugo is quoted as calling this novel “a religious work.”

1. Victor Hugo. Les Misérables [1862]. New York, The Modern Library, 1992.

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