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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Monday, January 18, 2021

“Welcome to Hard Times” (post 1) by E. L. Doctorow (post 3): Molly speaks in a different accent, indicating a switch to a different personality


In two previous posts on this award-winning writer, I quoted him from two interviews in which he said that his writing process involved alternate personalities. I accepted his first-hand testimony and did not look in his works for indirect evidence. But I am now halfway through his first novel (1).


In an episode with Molly (who has been living in this small frontier town of the Dakota Territory), she is comforting an ill young boy with a story about when she had been a maid for a wealthy family in New York. The narrator says:


“I will never forget her words. Even after the boy’s eyes were closed she sat holding him around, whispering these remembrances. It was the most she ever said about herself, it was the most I ever learned about her. She was speaking the brogue. I had never heard her use it before, and I wouldn’t again…


“…she saw me looking and ‘Turn away!” she said, her eyes filling with tears. ‘Don’t you dare look at me, turn away!’ ” (1, p. 97).


Molly’s switch to speaking with a brogue was a manifestation of her switch to another personality, who didn’t want the narrator-protagonist to know about her.


1. E. L. Doctorow. Welcome to Hard Times [1960]. New York, Random House Trade Paperbacks, 2007. 

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