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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Sunday, November 1, 2020

“Crime and Punishment” (end Part 2) by Dostoevsky: Raskolnikov has abrupt changes in his level of function and frame of mind


Raskolnikov’s state of mind has been changing throughout the day. He has been suicidal; on the verge of turning himself in to the police and confessing to murder; he almost confesses in social banter with a man associated with the police; and then he comes upon a traffic accident in which an alcoholic friend of his has been trampled nearly to death by carriage horses.


He identifies the victim to the police, gets him taken home to his desperately impoverished family, and seen by a doctor and priest. His friend dies. Raskolnikov gives all his money to the family. And then changes his mind about not visiting his friend Razumikhin.


“ ‘Enough!’ he said [to himself] resolutely and solemnly. ‘Away with mirages, away with false fears, away with spectres!…My life hasn’t died with the old crone! [one of the women he murdered]…Now is the kingdom of reason and light…and will and strength…and now we shall see! Now we shall cross swords!’ he added…as if addressing some dark force and challenging it…


“Pride and self-confidence were growing in him every moment; with each succeeding moment he was no longer the man he had been the moment before. What special thing was it, however, that had turned him around? He himself did not know…”(1, p. 188).


His friend Razumikhin has consulted the doctor involved in treating Raskolnikov’s recent physical prostration. The doctor—apparently basing his new opinion on his patient’s abrupt change in level of function and frame of mind—thinks it may be a mental illness.


“ ‘And why have I been put down as mad?’ [Raskolnikov asks].


“ ‘Well, not mad, exactly…’ [Razumikhin replies]” (1, pp. 188-191).


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. 

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