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 12, 2019


“Praise Other Me” by Ray Bradbury: Acknowledges and Gives Credit to His Alternate Personality

I do not write—
The other me
Demands emergence constantly.
But if I turn to face him much too swiftly
Then
He sidles back to where and when
He was before
I unknowingly cracked the door
And let him out.
Sometimes a fire-shout beckons him,
He reckons that I need him,
So I do. His task
To tell me who I am behind this mask.
He Phantom is, and I facade
That hides the opera he writes with God,
While I, all blind,
Wait raptureless until his mind
Steals down my arm to wrist, to hand, to
fingertips
And, stealing, find
Such truths as fall from tongues
And burn with sound,
And all of it from secret blood and secret soul on
secret ground
With glee
He sidles forth to write, then run and hide
All week until another try at hide-and-seek
In which I do pretend
That teasing him is not my end.
Yet tease I do and feign to look away,
Or else that secret self will hide all day.
I run and play some simple game,
A mindless leap
Which from sleep summons forth
The bright beast, lurking, whose preserves
And gaming ground? My breath,
My blood, my nerves.
But where in all that stuff does he abide?
In all my rampant seekings, where’s he hide?
Behind this ear like gum,
That ear like fat?
Where does this mischief boy
Hatrack his hat?
No use. A hermit he was born
And lives, recluse.
There’s nothing for it but I join his ruse, his game,
And let him run at will and make my fame.
On which I put my name and steal his stuff,
And all because I sneezed him forth
With sweet creation’s snuff.
Did R.B. write that poem, that line, that speech?
No, inner-ape, invisible, did teach.
His reach, clothed in my flesh, stays mystery;
Say not my name.
Praise other me.

Ray Bradbury. “The Other Me.” In Zen in the Art of Writing. Santa Barbara, Joshua Odell Editions, 1994, pp. 162-164.

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