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.

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Friday, April 29, 2016

Mark Twain’s avowed alternate personality, outside Twain’s awareness, explains how Twain’s books would “write itself” with “unconscious cerebration”  

In yesterday’s post, I quoted from Mark Twain’s notebook, in which he said that he had multiple personality:

“The two persons in a man do not even know each other and are not aware of each other’s existence, never heard of each other—have never even suspected each other’s existence…I am not acquainted with [have no conscious awareness of] my double, my partner in duality, the other and wholly independent personage who resides in me…”

You may wonder what his having an alternate personality—a “wholly independent personage who resides in me,” who does whatever he does, totally out of his regular self’s awareness—has to do with his writing?

The answer is, Everything, according to what he says about how his creative process works, for example:

“As long as a book would write itself I was a faithful and interested amanuensis, and my industry did not flag; but the minute that the book tried to shift to my head the labor of contriving its situations, inventing its adventures and conducting its conversations, I put it away and dropped it out of my mind…

“…when the tank runs dry you’ve only to leave it alone and it will fill up again, in time, while you are asleep—also while you are at work on other things, and are quite unaware that this unconscious and profitable cerebration is going on” (1, p. 196).

Of course, the “unconscious…cerebration” was unconscious only in the sense that his regular self was not conscious of it. But his “partner in duality, the other and wholly independent personage who resides in me” was evidently busy “contriving [the novel’s] situations, inventing its adventures and conducting its conversations,” to fill up the tank from which Mark Twain drew.

1. [Samuel L. Clemens]. Autobiography of Mark Twain, Volume 2. Benjamin Griffin and Harriet Elinor Smith, et al., Editors. A publication of the Mark Twain Project of The Bancroft Library. Berkeley Los Angeles London, University of California Press, 2013.

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