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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Monday, March 9, 2020

“This Is the Story of a Happy Marriage” by Ann Patchett (post 4): Are Novels Autobiographical?

Rose—the protagonist of Patchett’s first novel, The Patron Saint of Liars, discussed in previous posts—is never happily married. She abandons her first husband, and later abandons her second husband and daughter, all without explanation.

The title of the title essay of Patchett’s collection of autobiographical essays, “This is the Story of a Happy Marriage” (1), suggests that Rose’s story is not Patchett’s own. But the essay itself reveals that the issue is complicated.

“I know that a minimum of four generations of my family have failed at marriage. On my father’s side, six out of the seven Patchett children, my aunts and uncles, married, and five of them divorced. My sister and I have both divorced. Our parents divorced when I was four” (1, pp. 239-240).

The man, sixteen years older than Patchett, to whom she became happily married, had wanted to marry her for years. She agreed to marry him only when doctors said he had developed a serious heart disease. After they were married, it turned out the doctors had been wrong, or, at least, that he had completely recovered.

In another essay, “Dog without End,” Patchett recalls her sixteen-year loving relationship with her dog named Rose (1, p. 276).

1. Ann Patchett. This Is the Story of a Happy Marriage. New York, HarperCollins, 2013.

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