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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Saturday, April 3, 2021

“Vanity Fair” by W. M. Thackeray (post 2): Chatty narrator is embarrassed by his previous ignorance of Rebecca’s marriage


“If, a few pages back, the present writer claimed the privilege of peeping into Miss Amelia Sedley’s bedroom, and understanding with the omniscience of the novelist all the gentle pains and passions which were tossing upon that innocent pillow, why should he not declare himself to be Rebecca’s confidant too, master of her secrets, and seal-keeper of that young woman’s conscience?” (1, p. 185).


The narrator is embarrassed by the fact that he has not previously indicated any knowledge that Rebecca was already married. He asks “why should he not declare himself” to have known it, but he does not affirmatively declare himself to have known it.


So another, reticent narrator or certain characters have been doing things behind the chatty narrator’s back, either of which is multiple personality. But now that the chatty narrator has been belatedly briefed (by the other narrator or the characters), he shares the facts of Rebecca’s marriage.


1. William Makepeace Thackeray. Vanity Fair: A Novel without a Hero [1848]. Edited with an Introduction and Notes by Helen Small. Oxford, Oxford University Press, 2015.

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