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.

— Each time you visit, search "name index" or "subject index," choose another name or subject, and search it.

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Saturday, October 19, 2019


“The Hatred of Poetry” by Ben Lerner: This poet and novelist can both love and hate poetry, because he is comfortable with contradictions

“Many more people agree they hate poetry than can agree what poetry is. I, too, dislike it, and have largely organized my life around it…and do not experience that as a contradiction because poetry and the hatred of poetry are for me—and maybe for you—inextricable” (1, p. 6).

To show that this is a view shared by other poets, Lerner quotes Marianne Moore’s poem, “Poetry,” in its entirety:

“I, too, dislike it.
Reading it, however, with a perfect
contempt for it, one discovers in
it, after all, a place for the genuine” (1, p. 3).

Lerner explains: “The hatred of poetry is internal to the art, because it is the task of the poet and poetry reader to use the heat of that hatred to burn the actual off the virtual like fog” (1, p. 38).

Lerner concludes: "All I ask the haters—and I, too, am one—is that they strive to perfect their contempt, even consider bringing it to bear on poems, where it will be deepened, not dispelled, and where, by creating a place for possibility and present absences (like unheard melodies), it might come to resemble love” (1, p. 86).

Comment
Lerner says that poets hate their poems, because poems derive from the inexpressible, and so are never as good as what inspired them. He argues that if you approach poems with a mixture of hate and love, hate may burn away the inadequacy of words, allowing love to hear inaudible melodies.

However, Lerner’s argument defies common sense, because hate and love are contradictory, and the fact that he and other poets do “not experience that as a contradiction” means that they are not bothered by believing two contradictory things at the same time.

What kind of psychology may not be bothered by contradictions? In multiple personality, each personality feels entitled to its own opinion. So one personality may hate poetry, while another personality may love poetry. No problem.

1. Ben Lerner. The Hatred of Poetry. New York, Farrar Straus Giroux, 2016.

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