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, April 6, 2021

“Middlemarch” (post 2) by George Eliot (post 12): Narrator inadvertently, gratuitously, implies Fred has alternate personality, double consciousness


Fred, an unambitious spendthrift, lives on handouts from his uncle, who has just given Fred another hundred pounds. Now that he has gotten the money, Fred is eager to leave the scene as quickly as possible, but he hesitates. Why? Which of the following is the narrator’s explanation?


1. He longed to get out of the room, but he was a little ashamed to run away immediately after pocketing the money.

2. He longed to get out of the room, but he was a little ashamed in front of his uncle to run away immediately after pocketing the money.

3. He longed to get out of the room, but he was a little ashamed before his inner self, as well as before his uncle, to run away immediately after pocketing the money.

4. He longed to get out of the room, but his conscience made him hesitate to run away immediately after pocketing the money.


The answer is not 4, because taking the money did not violate Fred’s conscience. Fred felt that he was entitled to the money. Indeed, he probably felt that it was shameful for his uncle to give him only 100 pounds, when he needed more to pay his debts and expenses, and his uncle could well have afforded it.


The correct answer is: “He longed to get out of the room, but he was a little ashamed before his inner self, as well as before his uncle, to run away immediately after pocketing the money” (1, p. 127).


Note that the way the sentence is structured, “his inner self” is treated the same as “his uncle”; that is, as a discrete psychological entity in its own right, before which Fred is ashamed to run away immediately.


But since “inner self” uses the same body as Fred’s regular self, it is not another person: it is an alternate personality. And why would George Eliot’s narrator casually assume that a normal character would have an alternate personality, unless a normal person, like the author, had one, too? Although, George Eliot would have thought of it as “double consciousness.”


1. George Eliot (Mary Anne Evans). Middlemarch: A Study of Provincial Life [1872]. Edited with Notes by David Carroll. With an Introduction by David Russell. Oxford, Oxford University Press, 2019. 

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