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.

— If you read only recent posts, you miss most of what this site has to offer.

— Share site with friends.

Saturday, October 31, 2020

“Crime and Punishment” (Pt 2, Chap 1) by Dostoevsky: Raskolnikov probably switches to an alternate personality and back again


In his apartment after returning from the murders, Raskolnikov is frantically trying to hide all the evidence (blood on his clothes, loot, etc.).


Surprisingly, he's called to the police station. But it’s only about an unpaid debt. The police don’t connect him to the murders.


Nevertheless, while at the police station, he experiences a sudden, radical change in attitude: “Raskolnikov…suddenly felt decidedly indifferent to anyone’s possible opinion, and this change occurred somehow in a moment, an instant…And where had these feelings come from?…A dark sensation of tormenting, infinite solitude and estrangement suddenly rose to consciousness in his soul…Even if he had been sentenced to be burned at that moment, he would not have stirred, and would probably not have listened very attentively to the sentence. What was taking place in him was totally unfamiliar, new, sudden, never before experienced…Never until that minute had he experienced such a strange and terrible sensation…the most tormenting of any he had yet experienced in his life…A strange thought suddenly came to him…tell [the police] all about [the murders] yesterday, down to the last detail…” (1, pp. 103-104).


But the police say, “…we are not keeping you.”


“Raskolnikov walked out…In the street he recovered completely. ‘A search, a search, an immediate search!’ he repeated to himself, hurrying to get home. ‘The villains! They suspect me!’ His former fear again came over him entirely, from head to foot” (1, p. 106).


1. Fyodor Dostoevsky. Crime and Punishment: A Novel in Six Parts with Epilogue [1866]. Translated by Richard Pevear and Larissa Volokhonsky. New York, Vintage Classics/Random House, 1993. 

No comments:

Post a Comment

Thank you for taking the time to comment (whether you agree or disagree) and ask questions (simple or expert). I appreciate your contribution.