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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Wednesday, December 20, 2023

“The Color of Water” (post 1) by James McBride: Alternate Personality in Mirror


“Music arrived in my life around that time, and books. I would disappear inside whole worlds comprised of Gulliver’s Travels, Shane, and books by Beverly Cleary. I took piano and clarinet lessons in school, often squirreling myself away in some corner with my clarinet to practice, wandering away in Tchaikovsky or John Philip Sousa, trying to improvise like jazz saxophonist James Moody, only to blink back to realty an hour or two later. To further escape from painful reality, I created an imaginary world for myself. I believed my true self was a boy who lived in the mirror. I’d lock myself in the bathroom and spend long hours playing with him. He looked just like me. I’d stare at him. Kiss him. Make faces at him and order him around. Unlike my siblings, he had no opinions. He would listen to me. ‘If I’m here and you’re me, how can you be there at the same time?’ I’d ask. He’d shrug and smile. I’d shout at him, abuse him verbally. ‘Give me an answer!’ I’d snarl. I would turn to leave, but when I wheeled around he was always there, waiting for me. I had an ache inside, a longing, but I didn’t know where it came from or why I had it. The boy in the mirror, he didn’t seem to have an ache. He was free. He was never hungry, he had his own bed probably, and his mother wasn’t white. I hated him. ‘Go away!' I’d shout. ‘Hurry up! Get on out!’ But he’d never leave. My siblings would hold their ears to the bathroom door and laugh as I talked to myself. ‘What a doofus you are,’ my brother Richie snickered” (1, pp. 90-91).


Comment: Search “mirror” and “mirrors” in this blog to read past posts that discuss this textbook symptom of multiple personality (a.k.a. dissociative identity), whose normal, creative version, an asset of many novelists, I call "multiple personality trait.”


1. James McBride. The Color of Water: A Black Man’s Tribute to His White Mother (a memoir). New York, Riverhead Books, 1996/2006. 

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