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.

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Saturday, July 2, 2022

“Wide Sargasso Sea” by Jean Rhys (post 4): Belated, bizarre renaming of Antoinette, the protagonist


‘Don’t laugh like that, Bertha.’

‘My name is not Bertha; why do you call me Bertha?’

‘Because it is a name I’m particularly fond of. I think of you as Bertha.’

‘It doesn’t matter,’ she said  (1, p. 81).


Comment: The author has Antoinette say “It doesn’t matter.” And many readers of fiction, having suspended disbelief, may gloss over how bizarre it is for a husband to suddenly address his wife by a different name than she has always had, and by which he married her.


Since Rhys intended this novel to be a prequel to Jane Eyre, and would want her protagonist to eventually be named “Bertha Rochester,” wouldn’t there have been a more credible way for her protagonist to be called “Bertha?” For a husband to suddenly address his wife by a different name makes him look like the crazy one. Is that what Rhys intended? Or is the reader supposed to interpret the husband as “Gaslighting” his wife? Had the husband seen that movie?


Another possible interpretation is that the author’s characters had minds of their own (like alternate personalities, not puppets), and this was how they insisted on doing things.


But I haven’t finished the novel yet, and maybe the protagonist’s sudden name change won’t look so bizarre when I do.


Same day:  Finishing, I found nothing worth adding. Search "Jane Eyre" for useful past posts, especially regarding Bertha's "familiar" (alternate personality).


1. Jean Rhys. Wide Sargasso Sea [1966]Edited by Judith L. Raskin. A Norton Critical Edition. New York, W. W. Norton & Company, 1999. 

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