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.

— Share site with friends.

MPD Textbooks: — Frank W. Putnam, MD. Diagnosis and Treatment of Multiple Personality Disorder (MPD) (a.k.a. Dissociative Identity Disorder (DID), New York, The Guilford Press, 1989. —James G. Friesen, PhD. Uncovering the Mystery of MPD, (includes discussion of demonic possession) Eugene, Oregon, Wipf and Stock Publishers,1997.

Tuesday, August 3, 2021

“The Year of Magical Thinking” by Joan Didion (post 7): Italics used for a comment by an alternate personality


Chapter 14 of this first-person memoir concludes with one sentence in italics:


“…I was not actually holding myself responsible. I was holding John [her late husband] and Quintana [her daughter] responsible, a significant difference but not one that took me anywhere I needed to be. For once in your life just let it go” (1, p. 174).


She does not write the last sentence in her own voice, which would have been: “For once in my life, I needed to just let it go”; or simply, “I needed to let it go.”


Instead, she abandons first-person and writes it as though another person were telling her what her attitude should be. And this other person speaks in italics.


I have cited the same thing in many past posts regarding the novels of many writers. It typically occurs in a dialogue or argument between a character and a voice in the character’s head.


Indeed, I have seen this so often, with so many different writers, that I consider it a literary convention: Novelists often use italics to indicate when one of a character’s alternate personalities is talking (although the novelist is probably not thinking of it in terms of multiple personality, per se).


1. Joan Didion. The Year of Magical Thinking [2005]. New York, Vintage International, 2007. 

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