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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Wednesday, June 26, 2019


“Enduring Love” by Ian McEwan (post 4): Protagonist, who continues to have a split consciousness, is “the world’s most complicated simpleton”

In the rest of chapter one and chapter two, the protagonist makes two more mentions of his divided consciousness. Recall that he had previously seemed to see himself from two hundred feet up (1, p. 1). Next, he reports that when he had met Clarissa earlier that day (prior to the day’s traumatic event), he had imagined that “I was another man, my own sexual competitor, come to steal her from me. When I told her, she laughed and said I was the world’s most complicated simpleton…” (1, p. 5). Later, in the aftermath of the man’s fall to his death from the balloon, he says, “Like a self in a dream, I was both first and third persons, I acted, and saw myself act” (1, p. 21).

The first and the third instances might be explained away as his response to a traumatic situation. But there was no such situation when he had met Clarissa earlier that day. And her laughing comment that he was “the world’s most complicated simpleton” may mean that this was the kind of thing that she had come to expect of him.

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

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