Sally Rooney on her characters (post 2): Her regular personality has no memory for creating them, but knows, rationally, that she must have created them

In my recent post, I cited a video interview (1) and commented: She says that the characters just walked into her brain fully formed. She does not know where they came from. But since they could not have been created by anyone but her, they must have been created by a part of her mind of which she is not aware: a conscious, creative, story-telling, alternate personality. However, neither the author nor the interviewer reason this out.

In another interview, Rooney says this: “I suppose when I first met these characters, I felt like, they were already fully formed and it was my job to find out what was going on with them. Of course, that’s not actually true, and sometimes I have to remind myself, 'You made it up! They did not arrive fully formed. You made it all up!' But I can’t accept that" (2).

Comment

Her subjective experience is that she did not create the characters (because she has no memory of doing so). But she knows, rationally, that she must have created them. The solution to this mystery is that her regular personality has a memory gap for what an alternate personality did.

1. https://www.youtube.com/watch?v=iIGSMGdgCyQ

2. https://hazlitt.net/feature/im-not-so-interested-feelings-people-go-through-their-own-interview-sally-rooney

3. Wikipedia. Sally Rooney. https://en.wikipedia.org/wiki/Sally_Rooney

“Beach Read” by Emily Henry (post 3): People contain multitudes, may split in two, and author experiences protagonist as growing outside of her

When I read that this bestseller was about two novelists who help each other overcome writer’s block, I was hoping it would describe subjective experiences of the writing process. But the main experiences described are sexual encounters between the two novelists from the woman’s point of view.

In the rest of the novel, all I have found of relevance here are passing comments, suggestive of multiple personality, that apparently reflect the author’s view of human nature and of the way she experiences her characters.

People Contain Multitudes (Alternate Personalities)

“Your mother has been a lot of people in the twenty years I’ve known her…You have to keep falling in love with every new version of each other” (1, p.219).

Person Splits Apart (Into Different Personalities)

“I felt like I was coming apart…and I was going to split” (1, p. 331).

Character Grows Apart From Author (Like Alternate Personality)

“January [the protagonist] grew far outside of me [Emily Henry], until she was a full, real character. A thorny, messy, heartbroken woman with a lush, meaningful story (1, Readers Guide).

But aren’t those metaphors? Yes, but they may be what I call “subjectively experienced metaphors” (search).

1. Emily Henry. Beach Read. New York, Jove, 2020.

Characters Suddenly Appear: If fully-formed characters that a novelist doesn’t know, suddenly appear, does the novelist have a memory gap for creating them? Yes.

Sally Rooney video interview. https://www.youtube.com/watch?v=iIGSMGdgCyQ

[Added Sept. 28: She says that the characters just walked into her brain fully formed. She does not know where they came from. But since they could not have been created by anyone but her, they must have been created by a part of her mind of which she is not aware: a conscious, creative, story-telling, alternate personality. However, neither the author nor the interviewer reason this out.]

“Beach Read” by Emily Henry (post 2): Words and ideas inadvertently suggestive of multiple personality

“Transformative”

January, the protagonist, a romance novelist, says, “what I loved about the genre—that reading and writing it was nearly as all-consuming and transformative as actually falling in love” (1, p. 11). The word “transformative” goes beyond identifying with or empathizing with, and suggests that the writer virtually switches into the personalities of the characters who fall in love.

“Parts”

“God, what had I done? I should have known better. And then there was the part of me that couldn’t stop thinking, Am I going to do it again?” (1, p. 161). The voice or thought of the “part” (alternate personality) is written in italics, as is often the case in novels.

“And a small, stupid part of me even resented that Gus had secretly loved someone enough to marry her” (1, p.172). The “part” had a mind of its own.

“Fugue state” and discovered personalities

January and Gus go to a crowded dance, and they both become intoxicated, but that may not explain her own “dancing fugue state” and that “This was a different Gus than I’d seen” (1, p. 191).

“Fugue” implies amnesia, but since there is no other reference to amnesia for attendance at the dance, the “dancing fugue” may have been a multiple personality memory gap. And since a “different Gus” is similar to the “old” and “new” versions of the protagonist, January, mentioned at the beginning of the novel (see post 1), this is a continuation of the idea that people have various personalities, which would also include January’s late beloved father, whom she thought had been faithful to her mother, but had had a mistress and another home.

1. Emily Henry. Beach Read. New York, Jove, 2020.

Alternate personalities, who feel they are people in their own right, don’t believe in the diagnosis of multiple personality, and are against it

Most people with multiple personality in real life—for example, novelists and poets—are intriguing

“Beach Read” by Emily Henry (post 1): Novelists January, age 29, and Gus, 32, agree to help each other overcome writer’s block in this witty bestseller

What is January’s problem? She has reasons to be depressed: She doesn’t have much money, her father recently died, she is living alone in the house he shared with his mistress, and she can’t get her next novel started, which is unusual for her.

But January does not express her distress in terms of depression. Instead, she refers to herself as having been the “old January” (1, pp. 11, 22, 30) before she had writer’s block, and as becoming the “new January” (1, p. 41) after she starts to work with Gus.

She doesn’t describe her problem in terms of mood, because she experiences herself as having had a change in personality: the way her mind works, the way she behaves, and the way she relates to people. She feels different.

She may at times hear a voice in her head (written in italics): “That already happened. Last year. And it didn’t kill you, so neither will this” (1, p. 4). And she refers to “a part of me” (1, p. 4). Persons with multiple personality may hear alternate personalities as voices in their head. And “parts” is a common way that people refer to their undiagnosed alternate personalities.

She talks to herself in the mirror (1, p. 51), as persons with multiple personality sometimes do. And she speaks of herself as once having been “torn in half” (1, p. 86).

Comment

Multiple personality is an unintentional subtext in the beginning of this novel. As I read on, I will see if there is anything more explicit. If you are new to this blog, please search “subjectively experienced metaphors,” “voices,” “italics,” “mirrors,” and “unacknowledged multiple personality” for related past posts.

1. Emily Henry. Beach Read. New York, Jove, 2020.

Synesthesia previously mentioned in 2015 post on subjectively experienced metaphors

August 3, 2015

Subjectively Experienced Metaphors (SEMs): Rather than being analogies, some metaphors are subjective experiences; e.g., synesthesia or multiple personality

Most people think of metaphors as analogies or connections between previously unrelated things, which may be true for most metaphors. However, some metaphors may reflect actual subjective experiences.

One such type of metaphor, synesthetic metaphors, may reflect the writer’s synesthesia. For an outline of the types of synesthesia—actual subjective experiences on which certain metaphors could be based—see Wikipedia: https://en.wikipedia.org/wiki/Synesthesia.

Another category of metaphor is personification. An example would be to attribute a human voice, with a mind of its own, to a fictional character, as when a novelist, in an interview, says, “When I heard the character’s voice, and the character came alive to me, I knew I had a novel.”

That is usually considered metaphorical, since “everyone knows” that characters don’t really exist or have voices or minds of their own that the novelist actually hears. But what if novelists say they actually do hear a voice in their head? And what if, according to novelists, the voice says things that the novelist hadn’t thought of? If novelists actually do have those subjective experiences, is what they say in interviews a metaphor?

(As readers of this blog know, I consider autonomous characters with minds of their own to be equivalent to alternate personalities in multiple personality.)

Well, in one sense it is a metaphor, but in another sense it isn’t. It is a metaphor, because characters don’t really exist. It is not a metaphor, because novelists honestly feel that they are reporting an experience.

The only name for this that I’ve thought of is: Subjectively Experienced Metaphors (SEMs). Maybe you can think of a better name. Or maybe there already is a name for this that I haven’t heard.

“Synesthesia” by Richard E. Cytowic, MD, MFA: “Synesthetes have a different texture of reality than the rest of us.”

[I was motivated to skim this nonfiction book, because the protagonist of Colson Whitehead's The Intuitionist had had unlabeled synesthesia.]

“As a toddler, the novelist Vladimir Nabokov complained to his mother that the colors of his wooden alphabet blocks were ‘all wrong.’ She understood what he meant because she was a synesthete herself, as would be the novelist’s offspring, Dmitri, who wrote about his family in Wednesday Is Indigo Blue" (1, p. 34).

“Sensing days of the week as colored is the most frequent manifestation of synesthesia, followed by seeing letters, numerals, and punctuation marks as colored even though they are printed in black. We call these written elements of language graphemes. For some individuals, graphemes also have gender and personality…This is how synesthesia is: modalities that most of us think aren’t supposed to go together, like gender and numerals, end up coupled thanks to increased connections between different brain areas” (1).

“Synesthesia is a hereditary condition in which a triggering stimulus evokes the automatic, involuntary, affect-laden, and conscious perception of a sensory or conceptual property that differs from that of the trigger…It appears at an early age. Children born with the neurological trait are surprised to discover that not everyone experiences the world the way they do…Roughly 4% of people combine two or more modalities…about 1% experiencing it all the time” (1).

“It helps to think of congenital synesthesia as a trait, like having perfect pitch. There is nothing wrong, and nothing in need of medical treatment. In fact, the extra perceptual hooks give nearly all synesthetic individuals a superior memory” (1).

“What synesthesia shows is that not everyone sees the world as you do” (1).

Comment

In interviews of novelists and poets, it would be interesting to ask if they are synesthetes, and if so, how it contributes to their writing.

1. Richard E. Cytowic, M.D., M.F.A. Synesthesia [nonfiction]. Cambridge Massachusetts, The MIT Press, 2018.

“The Intuitionist” by Colson Whitehead (post 5): I don’t understand the end of this novel.

“The Intuitionist” by Colson Whitehead (post 4): Why does the author highlight an incident that the protagonist had forgotten, but which did happen?

The main plot—in which protagonist, Lily Mae Watson, an elevator inspector, is being harassed and threatened—is interrupted to describe an incident when she was six-years-old, was living with her parents, and went at night to get a glass of water.

The incident ends when she finds her father in the kitchen, he takes her on his lap, reads to her from a paper on elevator technology, and urges her to pay attention in school so she can learn to read such things herself. This makes sense in regard to how her life has turned out. But the beginning of the description of the incident is peculiar:

“Lila Mae has forgotten this incident. But no matter. It still happened. It happened like this…That night toward the end of her sixth summer was the night of the annual visitation…She couldn’t sleep for the wind’s tiresome argument with house…it was to Lila Mae that it spoke, recommending a glass of water for her parched throat…this pit itself against her mother’s quite firm instructions that she be in bed by nightfall. And stay there…She could count summers and that meant she was older, or so her persuasions whispered. Old enough, her dry throat urged, to hazard discovery while on a late-night adventure for a glass of water.” (1, pp. 116-117).

Comment

Would Lily Mae be expected to forget an incident at age six when her father took her on his lap and encouraged her to pursue what became the center of her life? Wouldn’t this be a favorite story she liked to tell? (Unless there was abuse by her father that has not been revealed.)

I am hesitant to write off the other things as mere literary flourishes, because personified metaphors of communication may be a camouflaged way of referring to communication from alternate personalities.

But my main comment is to wonder why the author interrupts the narrative with an incident that he introduces by emphasizing the fact that the protagonist had forgotten it, but it did happen. It raises the question of whether the character or author had a history of multiple personality memory gaps.

1. Colson Whitehead. The Intuitionist. New York, Anchor Books, 2000.

Please Submit Questions, Comments, and Corrections

“The Intuitionist” by Colson Whitehead (post 3): Lila Mae’s secret, angry “part” puts its hardened face on

In a peculiar passage, the protagonist, Lila Mae, is described as putting on a face: “Dressed, she’s in front of the mirror. Armed. She puts her face on. In her case, not a matter of cosmetics, but will. How to make such a sad face hard? It took practice…feeling and testing which muscles in her face pained under application of concerted tension…A caricature of strength…This register of discomfort became the standard for all the muscles in her face…Her face is on” (1 p. 57).

My interpretation of the above, that her hardened face is the face of an angry alternate personality, is based on the novel’s previous page, which speaks of Lila Mae as having a secret, angry “part”: “A secret part of her wanted…an outlet for her anger. It was rare that she felt this way, relishing violence” (1, p. 56). Persons with undiagnosed multiple personality often think of their alternate personalities as being secret “parts.”

1. Colson Whitehead. The Intuitionist. New York, Anchor Books, 2000.

“The Intuitionist” by Colson Whitehead (post 2): “Everyone has their own set of genies.” Who are the author’s “genies”?

I have just visited the author’s website to see what he says about his first novel, The Intuitionist. Visit colsonwhitehead.com, click on Books, then click on The Intuitionist. The text you find there may have been written by his publisher, but I assume that Whitehead agrees with what people read about his own books when they visit his own website.

It says in part, “…Intuitionists, who are simply able to enter the elevator cab in question, meditate, and intuit any defects.” There is no mention of the elaborate, blatant synesthesia I quoted in post 1. Apparently, neither the author nor his editor recognized the synesthesia, per se; or, at least, they thought it was not, in itself, important.

In any case, I now see that I had been distracted by the synesthesia, which is not the main issue here.

Of relevance here is the following sentence in the passage I quoted in post 1: “Everyone has their own set of genies.” What does he mean by “genies”? He may mean that everyone (which would include the author) has their own style of magical thinking that comes from their own set of magical people (alternate personalities).

And it may be that Whitehead likes to call what he gets from his genies or alternate personalities, his intuition, which would make him an “intuitionist.”

Added Sept 18: In short, his genies are alternate personalities, he has multiple personality trait, and he thinks everyone else does, too; although, apparently, he does not think of it in terms of multiple personality.

“The Intuitionist” by Colson Whitehead (post 1): Protagonist’s most remarkable attribute—synesthesia—is rarely, if ever, mentioned in reviews

I have just started Colson Whitehead’s first novel. It’s story takes place at a time when elevators were a cutting-edge technology. The protagonist, Lila Mae Watson, the city’s first black, female, elevator inspector, is a leading exponent of one of the two approaches to elevator inspection. She is an Intuitionist, as opposed to the Empiricists, who look at the hardware.

“ ‘Press twelve,’ Lila Mae orders the super. Even with her eyes closed she could have done it herself, but she’s trying to concentrate on the vibrations massaging her back. She can almost see them now. This elevator’s vibrations are resolving themselves in her mind as an aqua-blue cone…The elevator moves upward in the well, toward the grunting in the machine room, and Lila Mae turns that into a picture, too. The ascension is a red spike circling around the blue cone, which doubles in size and wobbles as the elevator starts climbing. You don’t pick the shapes and their behavior. Everyone has their own set of genies. Depends on how your brain works. Lila Mae has always had a thing for geometric forms. As the elevator reaches the fifth floor landing, an orange octagon cartwheels into her mind’s frame. It hops up and down, incongruous with the annular aggression of the red spike. Cubes and parallelograms emerge around the eighth floor, but they’re satisfied with half-hearted little jigs and don’t disrupt the proceedings like the mischievous orange octagon. The octagon ricochets into the foreground, famished for attention. She knows what it is. The triad of helical buffers recedes farther from her, ten stories down at the dusty and hard floor of the well. No need to continue. Just before she opens her eyes she tries to think what the super’s expression must be… ‘I’m going to have to cite you for a faulty overspeed governor,’ Lila Mae says. ‘But you haven’t even looked at it,’ the super says” (1, pp. 6-7).

Comment

In the above description, Lila Mae is not using intuition in the usual sense of that concept (2). Obviously, she is basing her inspection on her conscious, synesthetic reactions to the elevator’s objectively perceivable vibrations, which she relates to her knowledge of how elevators work (just as an auto mechanic may know what is wrong with your car when he hears the kind of noise it is making).

Synesthesia is well known (3) and is an attribute of many people (4).

Since I have just started this novel, I don’t know how much will be made of the protagonist’s synesthesia. But since it is not mentioned in most, if any, reviews, and since it makes the title of the novel a misnomer, I’m expecting that the novel will not make it a major issue, and may even drop the issue altogether.

If there is a major discrepancy between the way a protagonist is portrayed at the beginning and end of a novel, I consider it evidence of the author’s split personality. One of the novels I’ve discussed that has this is Nabokov’s Lolita.

I call this discrepancy a “split inconsistent narrative” (please search it). I won’t know whether this applies to The Intuitionist until I finish reading it.

1. Colson Whitehead. The Intuitionist. New York, Anchor Books, 2000.

2. Wikipedia. “Intuition." https://en.wikipedia.org/wiki/Intuition

3. Wikipedia. “Synesthesia.” https://en.wikipedia.org/wiki/Synesthesia

4. Wikipedia. “List of people with synesthesia.” https://en.wikipedia.org/wiki/List_of_people_with_synesthesia

Memory Gaps Reflect Intact, But Segregated, Memories

Memory gaps in multiple personality trait means that your regular personality does not remember things, events, or periods of time that most people would remember, because the memories have been deposited in the memory banks of alternate personalities.

The memories are intact and potentially retrievable. Memory gaps are not a defect in memory. They reflect a complicated mind with special abilities.

“The Neon Rain” by James Lee Burke (post 3): Detective Robicheaux has thoughts from, then switches to, an alternate personality (unacknowledged)

In the following passages, first-person protagonist Detective Robicheaux has a thought inserted into his mind by an alternate personality. (Thought insertion was once considered a symptom of schizophrenia, but has been found to be more characteristic of multiple personality.) Then he says he underwent “metamorphosis” (has switched to another self, an alternate personality).

Reasons for “I thought” and italics

“Right or wrong?” he said…

“Right,” I said.

But even as I spoke, I thought, if we break promises to God, shouldn’t we be allowed an occasional violation of our word to our friends and superiors? (1, p. 290).

Since “I” is a first-person, narrating protagonist, it was unnecessary to say “I thought.” The natural way to have written that sentence would have been: “But if we break promises to God, shouldn’t we be allowed an occasional violation of our word to our friends and superiors?” So why insert, “I thought,” unless he is making some kind of distinction? He means that he had a thought, but he didn’t feel like he was thinking it. It just came to him.

And why the italics? It was not needed for emphasis, since that sentence is the ending of a scene and is followed by a double space, after which the scene changes. So that sentence already had ample emphasis. Italics was used for another reason.

As I have discussed in many other writers’ works, italics are often used when quoting the voice of an alternate personality heard in the character’s head. In the above, it is not a voice, but a thought of an alternate personality. The protagonist is implying that he had a thought in his head, but it didn’t feel like his own thought, which he indicates by italics.

“Metamorphosis” (switch to sober alternate personality)

“I could feel the caution lights start to flash in my head, the way you do when you watch the amber light shimmer in a whiskey glass.” But since this time he was not drinking, he couldn’t blame alcohol for the way he was starting to feel, and “…you can’t even have the pleasure of loathing yourself because the metamorphosis to which you’ve committed yourself is now the only self you have” (1, p. 293). When you switch to an alternate personality, you now have that personality’s point of view.

Comment

The above is another example of unintentional, unacknowledged, multiple personality. It is probably in the novel only as a reflection of what most fiction writers consider ordinary psychology.

1. James Lee Burke. The Neon Rain [1987]. London, Orion Books, 2013.

Pulitzer Prize novelist Richard Powers (post 4) describes latest novel as originating in conversation with child-aged alternate personality

“…while walking in the forest near his home, Powers had a vivid, hallucinatory sensation of carrying a child on his shoulders…During his hikes, he began having conversations with this imaginary child. He started to formulate a story of a father and a son…‘I was deep into the story before I realized that I was writing a book that was trying to re-engage the questions that were left hanging at the end of The Overstory,' Powers said."

Alexandra Alter. The New York Times, September 13, 2021. https://www.nytimes.com/2021/09/13/books/richard-powers-bewilderment.html

April 15, 2019

“The Overstory” by Richard Powers: Wins 2019 Pulitzer Prize for novel that employed “all my multiple personalities”

“…he has poured plenty of himself into the nine main human characters in The Overstory. The most obvious proxy is Nick Hoel: ‘The introspective midwestern creator and outsider, trying to solve the tensions between that intense introspection of his temperament with the outward ambition of his vocation – that’s me.’ But there’s also Mimi Ma, the engineer who represents the pragmatic path Powers might have taken; Neelay, a programmer who loses himself in alternative worlds, and Douglas, the war veteran to whom the author gave his ‘relentless goofy humour’. ‘It was like a five-year-long therapy session where I let all my multiple personalities off the leash and that was so satisfying’ ” (1).

1. https://www.theguardian.com/books/2018/jun/16/richard-powers-interview-overstory

“The Neon Rain” by James Lee Burke (post 2): Detective Robisheaux's self-destructive, alcoholic, "cunning" alternate personality

This is the first of the author’s most successful series of novels, featuring New Orleans police department detective Lieutenant Dave Robicheaux.

Detective Robicheaux says he used to have a serious drinking problem that involved binges ending in delirium tremens (1, p. 27). Looking back on those years, he makes this interesting comment:

“My years of drinking had taught me not to trust my unconscious, because it planned things for me in a cunning fashion that was usually a disaster for me, or for the people around me, or for all of us” (1, p. 81).

A part of a person’s mind that, out of the person’s awareness, plans things in a cunning fashion, against the interests of the person, is a persecutor alternate personality.

“At least half or more of MPD [multiple personality disorder] patients have alter personalities who see themselves in diametric conflict with the host personality. This group of alter personalities, sometimes referred to as ‘internal persecutors,’ will sabotage the patient’s life…” (2, p. 108).

1. James Lee Burke. The Neon Rain [1987]. London, Orion Books, 2013.

2. Frank W. Putnam, MD. Diagnosis and Treatment of Multiple Personality Disorder. New York, The Guilford Press, 1989.

Human Nature: Fiction writers mistakenly think everyone has “parts.” Psychiatrists and psychologists mistakenly think multiple personality is rare.

“Parts” is an informal term for alternate personalities, which are parts of a person’s mind that seem to be independent, to have minds of their own.

Different parts or personalities have their own memory banks. Although some personalities have joint accounts, are co-conscious, and know pretty much what each other is thinking and doing, other personalities may not even be aware that another personality exists. And often there is one-way awareness: A is aware of B, but B is not aware of A. So B will have a memory gap for any period of time that A had come out and been in control.

Most people feel everyone is basically like they are. And since 90% of fiction writers have multiple personality trait (multiple personality without its causing distress or dysfunction), they may think that everyone is like that.

But since it is probable that less than 30% of the general public has multiple personality trait—and since undiagnosed alternate personalities like to remain incognito—then most people, including psychiatrists and psychologists, will think multiple personality is rare. And it is relatively rare, only about 1% of the general public, if you think of multiple personality only in terms of the mental illness, multiple personality disorder.

New York Times’ featured review of Sally Rooney’s “Beautiful World, Where Are You” has discordant illustrations and insufficient psychological curiosity 

The shadowless illustrations accompanying this featured New York Times book review contradict the review’s first sentence: “Sally Rooney’s new novel, ‘Beautiful World, Where Are You,’ has the arid, intense melancholy of a Hopper painting.” Did the illustrator and editor disagree with the reviewer?

”https://www.nytimes.com/2021/09/07/books/review/beautiful-world-where-are-you-sally-rooney.html

The remainder of the review’s first paragraph says that one of the two main characters is recovering from a mental breakdown, and that the other main character has a childlike delusion. But the rest of the review minimizes these opening-paragraph-important psychological issues.

The lack of a question mark at the end of the novel’s title is not a typographical error of this post, is not mentioned in the review, and may represent another unexplored psychological issue.

Novels are often essentially about the psychology of their characters. Book reviewers do not have to be psychologists, but they should have more psychological curiosity.

William James in “Varieties of Religious Experience” (post 3) on “Pilgrim’s Progress” John Bunyan (post 5)

“He [John Bunyan] was a typical case of the psychopathic temperament, sensitive of conscience to a diseased degree, beset by doubts, fears and insistent ideas and victim of verbal automatisms, both motor and sensory. These were usually texts of Scripture which, sometimes damnatory and sometimes favorable, would come in a half-hallucinatory form as if they were voices, and fasten on his mind and buffet it between them like a shuttlecock. Added to this were a fearful melancholy, self-contempt, and despair…” (1, p. 176).

“For years together he was alternately haunted with texts of Scripture, now up and now down, but at last with an ever growing relief in his salvation through the blood of Christ…” (1, p. 207).

“Bunyan became a minister of the gospel, and in spite of his neurotic constitution, and of the twelve years he lay in prison for his non-conformity, his life was turned to active use. He was a peacemaker and a doer of good, and the immortal Allegory which he wrote has brought the very spirit of religious patience home to English hearts” (1, p. 208).

Comment

William James (1842-1910) is famous as both a philosopher (Pragmatism) and psychologist. One of his psychological interests was cases of multiple personality, which led him to this conclusion: “The same brain may subserve many conscious selves, either alternate or coexisting…” (2, p. 401). But in his brief discussion of Bunyan in his book on religious experience, he does not raise that issue.

However, James’ discussion of Bunyan is notable for this combination: a person with a basically “neurotic [nonpsychotic] constitution” has “half-hallucinatory [pseudopsychotic]…voices.” It is a combination suggestive of multiple personality.

1. William James. The Varieties of Religious Experience: A Study in Human Nature [1901-1902]. New York, The Modern Library, 1994.

2. William James. The Principles of Psychology [1890]. Volume One. New York, Dover Publications, 1950.