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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Tuesday, January 12, 2021

“Shuggie Bain” by Douglas Stuart (post 3): Agnes, Shuggie’s mother, may be having multiple-personality memory gaps, not alcoholic blackouts

I’m nearly halfway through this 430-page novel, and it is, supposedly, well established that Agnes, a chronic alcoholic, has been repeatedly having alcoholic blackouts. But I look back at the description of one of her so-called blackouts:


Agnes lowered her chin back to her chest and tried to clear her blackout…The memories of the previous night started to ring like large chapel bells in her scull.


Clang, here is the wean [child] dancing on the bed.

Clang, here is the flame on the curtains.

Clang, here is Shug [Shuggie’s father], twisting his wedding band with a face full of disappointment again.


“Agnes…thought about holding the wean down as the flames raced up the curtain. She pushed the memory away and willed herself not to look at it again, yet the more she looked away the more it blossomed like a terrible flower. The guilt sank like dampness into her bones, and she felt rotten with shame” (1, pp. 71-72).


Since she has the memory, and, therefore, did not have a blackout, why is she calling it a “blackout”? She evidently does not understand the concept of an alcoholic blackout: memories are not recorded, and so cannot later be remembered.


Perhaps she has multiple personality, and it was another personality (a personality who likes to drink) who did those things last night, at a time when her regular personality was not in control, and so her regular personality had, in a sense, been “blacked out” at that time.


But since the memories had been recorded by her brain, they existed, and could be retrieved by her regular personality by a sort of self-hypnotic recall: when she “tried to clear her blackout.”


1. Douglas Stuart. Shuggie Bain. New York, Grove Press, 2020.

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