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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Tuesday, June 11, 2019

“All Is Forgotten, Nothing Is Lost” by Lan Samantha Chang (post 2): Multiple Personality Trait at prestigious Iowa Writers’ Workshop

Voices Conversing
The protagonist “had never known his father, and his mother had left the two of them when he was three” (1, p. 29), but he does not relate this to the two voices that he hears conversing with each other in his head (see previous post). Are they the voices of two alternate personalities that filled the void of his two missing parents?

In the rest of this two-hundred page novel, the only thing the protagonist adds to what was previously quoted about the conversing voices, is this: “Who the man and woman were, he could not guess. They had simply spoken, and he had not censored their words, passionate or estranged. He had worked long hours at these poems, worked harder than he had ever had, and although in truth he did not know exactly what he had written, he found the poems powerful and mysterious in a way that puzzled him and drew him to his desk as nothing had before” (1, p. 38).

Thus, as previously discussed, the protagonist is aware of his symptom of multiple personality—he hears two voices conversing with each other—and they are integral to his creative writing process, but the character and author do not speak of it in terms of multiple personality. It is one more example of a novel with unlabeled symptoms of multiple personality.

Iowa Writers’ Workshop
Professor Chang (2006-current) is the second Director of the prestigious Iowa Writers’ Workshop (2) discussed here in regard to symptoms of multiple personality. The first was Frank Conroy (1987-2005), about whose own multiple personality trait there is much more information. Please search “Frank Conroy” for that series of posts.

I would guess that other fiction-writing programs have similar traditions of unacknowledged multiple personality.

1. Lan Samantha Chang. All Is Forgotten, Nothing Is Lost [2010]. New York, W. W. Norton, 2011.
2. Wikipedia. “Iowa Writers’ Workshop.” https://en.wikipedia.org/wiki/Iowa_Writers'_Workshop

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