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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Monday, June 6, 2022

“Proust’s Way: A Field Guide to In Search of Lost Time” by Roger Shattuck 


“From start to finish there is someone in the novel saying I. Like the single Martinville spire on the horizon, which separates into two and then three steeples as one approaches it, different voices and different beings step out from behind that first-person singular. Yet the linguistic and semidramatic illusion of their unity inside a single pronoun is one of the principal devices used in the book to weld together the disparate levels of identity and narrative, and to permit rapid shifts among different points of view. The I in Proust is an eternal pivot chord. Marcel Muller, the most careful analyst of this aspect of Proust’s work, distinguishes seven distinct I’s” (1, p. 32).


Comment: Multiple personality may be defined as a person with more than one “I.”


1. Roger Shattuck. Proust’s Way: A Field Guide to In Search of Lost Time. New York, W. W. Norton, 2000.

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