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.

— Each time you visit, search "name index" or "subject index," choose another name or subject, and search it.

— If you read only recent posts, you miss most of what this site has to offer.

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Tuesday, August 17, 2021

“On the Art of Fiction” by Alice McDermott (post 3) 


McDermott discusses a number of writers’ works that I have also discussed, but I’ll mention just two: Henry James’s story “The Middle Years” (1, p. 186), famous for his phrase “the madness of art,” and Vladimir Nabokov’s Speak, Memory: An Autobiography (1, p. 217).


Search “madness of art” to read my post on the James character’s plural self-reference. Search “Nabokov autobiography” to read his extensive descriptions of his memory gaps and dissociative fugues.


At the conclusion of McDermott’s book on the art of fiction, she says:


“If you can do anything else, I tell aspiring writers now, if you can do anything other than pursue this literary fiction thing and still sleep at night and wake joyful in the morning and know that the hours of your days have been well spent, then you should do that—that other thing. The beauty of the advice is how quickly it clarifies, for some of us, what we’ve always known: Of course we can’t. We can’t” (1, p. 237).


Perhaps there is something about the fiction writer’s mind which inclines them to that kind of creativity.


1. Alice McDermott. What About the Baby? Some Thoughts on the Art of Fiction. New York, Farrar Straus Giroux, 2021.

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