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, June 28, 2021

“A Tree Grows in Brooklyn” by Betty Smith (post 2): Francie’s lying, due to her mythopoetic alternate personality, suggests she become a fiction writer


As noted in post 1, when Francie was alone, an alternate personality made up, and told her, stories. However, she was not always alone. And by the time she was ten, she was making things up and telling lies to her parents and teacher.


“She hated whatever that thing was inside her that made her invent such whoppers…Lately, she had been given to exaggerating things. She did not report happenings truthfully, but gave them color, excitement and dramatic twists. Katie [her mother] was annoyed at this tendency and kept warning Francie to tell the plain truth and to stop romancing. But Francie just couldn’t tell the plain undecorated truth. She had to put something to it.


“Although Katie had this same flair for coloring incident and Johnny [Francie’s father] himself lived in a half-dream world, yet they tried to squelch these things in their child…"


Fortunately, a kind teacher told her: “You know, Francie, a lot of people would think that these stories you’re making up all the time were terrible lies because they are not the truth as people see the truth. In the future, when something comes up, you tell exactly how it happened but write down for yourself the way you think it should have happened. Tell the truth and write the story. Then you won’t get mixed up.”


“It was the best advice Francie ever got…Francie was ten years old when she first found an outlet in writing” (1, pp. 198-199).


Comment

What was once thought of as “the mythopoetic function of the unconscious” (2, p. 318), I would reframe as the proclivity of some alternate personalities to make up stories. And for such a person, fiction writing is a natural choice.


1. Betty Smith. A Tree Grows in Brooklyn [1943]. New York, Harper Perennial Modern Classics, 2006.

2. Henri F. Ellenberger. The Discovery of the Unconscious. New York, Basic Books, 1970. 

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