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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Friday, January 15, 2021

“Shuggie Bain” by Douglas Stuart (post 6): Modest Conclusion


Shuggie’s mental dissociation in the opening paragraph of the novel (see post 1) is never developed. His mother eventually dies from natural causes, after her history of dramatic suicide attempts.


Agnes’s last major suicide attempt may have featured a cardinal symptom of multiple personality, a memory gap:


“When Agnes awoke in the psychiatric hospital she had no memory of getting there” (1, p. 332).


Did she have no memory for getting there, because she was unconscious for the whole trip to the hospital? Or did she awake in the hospital from sleep due the sedative they gave her after arriving at the hospital “to keep her from clawing at herself again” (1, p. 332)? Indeed, did she actually remember cutting herself, or did she only know about it by inference, from the bandages on her wrists? The novel does not say.


The novel recognizes the problems alcoholism, poverty, and patriarchy, but if there is anything else to understand about Shuggie and Agnes, this novel is too modest to inquire.


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

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