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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Wednesday, July 21, 2021

Simone de Beauvoir (post 2): Multiple Consciousness and Puzzling Self-Contradiction suggest a fiction writer with multiple personality trait


In the last half of The Mandarins, there are three examples of multiple consciousness. First, when Paula is home after a psychiatric hospitalization, Anne (the character most representative of the author in this semi-autobiographical novel) describes how her friend Paula’s handwriting has changed and matured (1, p. 627). A sudden maturation in a person’s handwriting suggests a change from a child-aged to an adult alternate personality. Second, after Anne’s lover admits that he no longer loves her, Anne has dissociated, multiple consciousness: “I heard my voice from a long way off” (1, p. 653). Third, contemplating suicide at the end of the novel, Anne says, “Someone was going to poison me. It was I; it was no longer I” (1, p. 734). Readers of old posts know that she wouldn’t have been the first character in a novel who was killed by her alternate personality.


Simone de Beauvoir was bisexual and had her teaching license temporarily revoked for allegedly seducing a female student (2), which, for the famous feminist author of The Second Sex, were remarkable, puzzling, self-contradictions.


Deirdre Bair sums up her impression of Simone de Beauvoir on the last page of her biography: “Much that she did confused her supporters and confounded her critics…She was affectionate, generous, witty and wise, but she was also quirky and opinionated, gruff and sometimes without a sense of humor. She was a beautiful woman unaware of her striking physical presence, but she was also awkward and ill-kempt…a cultural icon. She regretted being known in France as ‘Our Sacred Monster’…She may have been a mass of contradictions…” (3, p. 618).


1. Simone de Beauvoir. The Mandarins [1954]. Translated by Leonard M. Friedman. Introduction by Doris Lessing [1993]. London, Harper Perennial, 2005.

2. Wikipedia. “Simone de Beauvoir.” https://en.wikipedia.org/wiki/Simone_de_Beauvoir

3. Deirdre Bair. Simone de Beauvoir: A Biography. New York, Summit Books, 1990.

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