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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Friday, July 26, 2019


“The Mysteries of Pittsburgh” by Michael Chabon (post 2): Author’s essay on writing this novel speaks of “writing self,” bisexuality, and help from “muse”

“Writing Self”
When he was soon to start an MFA program where students were expected to write novels, Chabon wondered, “Had the time come to leave my current writing self behind?” His phrase would seem to indicate that he distinguished between his writing self and his regular self, and that he felt he could change from one writing self to another.

By “writing self,” could Chabon merely have meant writing style? He did think about emulating the styles of various famous writers. But why, then, didn’t he speak of leaving his current writing style behind?

Especially in a person who is careful about his choice of words, I would interpret “self” as implying a personality state, so that having and changing selves would be equivalent to having, and changing among, alternate personalities.

Why, then, didn’t he speak of his current writing personality? Either he didn’t realize the connection between self and personality (as in multiple personality) or he knowingly used “self” as a euphemism.

Bisexuality?
Chabon, who has been married since 1993 with four children, says that back at the time in his life on which this novel is based: “I slept with one man whom I loved, and learned to love another man so much that it would never have occurred to me to want to sleep with him.”

I don’t know that Chabon has ever used the word “bisexual.” But he has said that people are difficult to categorize.

In posts last month, prompted by works of two other novelists, I discussed a possible connection between some instances of bisexuality and multiple personality, since many multiples have both male and female alternate personalities.

“Muse”
Referring to the time he started to work on this novel, Chabon jokingly speaks of getting “help” from a “ghost” or “muse.” Psychological truth is often spoken as if in jest. Spirits that “help” fiction writers, and are called “ghosts” or “muses,” are, in psychological terms, alternate personalities.

1. Michael Chabon. Author’s essay (2005) on writing The Mysteries of Pittsburgh (1988). New York, Harper Perennial, 1988/2005.

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