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 25, 2019


“Enduring Love” by Ian McEwan (post 3): Novel opens with “multiplicity” of “selves”; false clue; transformation, memory gap, and depersonalization

The first three pages of the novel, separated by a space from the rest of chapter one, have three things that caught my attention. The third thing was the “enormous balloon filled with helium, that elemental gas…first step along in the generation of multiplicity and variety of matter in the universe, including our selves…” (1, p. 3). “Multiplicity” and “selves” in the same sentence may not be a meaningless coincidence.

The second thing was that, as five people rushed toward the balloon and its call of distress, the narrating protagonist, Joe Rose, and a stranger, Jed Parry, who are coming from opposite sides of the field, are described as “rushing toward each other like lovers” (1, p. 2). This may be an intentionally false clue, designed to make the reader mistakenly suspect that it is Joe Rose and not Jed Parry who has a sudden psychotic fixation.

The first thing that caught my attention was this: “…we heard a man’s shout. We turned to look across the field and saw the danger. Next thing, I was running toward it. The transformation was absolute: I don’t recall…getting to my feet, or making a decision, or hearing the caution Clarissa called after me…And there, suddenly, from different points around the field, four other men were converging on the scene, running like me. I see us from two hundred feet up…(1, p. 1).

The word “transformation,” especially in combination with a memory gap (“I don’t recall…”), indicates a switch to an alternate personality. This is confirmed by the depersonalization (“I see us from two hundred feet up”), which means that one personality was observing the other personality run toward the balloon.

Two relevant works previously discussed here are Jean-Paul Sartre’s novel Nausea, which featured the protagonist’s “sudden transformations,” and Kafka’s Metamorphosis, which was about the protagonist’s transformation. Search “Sartre,” “Kafka,” and “transformation.” Transformation is a literary metaphor for switching from one personality to another.

1. Ian McEwan. Enduring Love. New York, Nan A. Talese/Doubleday, 1997.

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