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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Thursday, June 9, 2022

“The History and Art of Ventriloquism” by Valentine Vox (post 2): Ventriloquists sometimes look like they have multiple personality


“This seemingly schizophrenic [word misused to mean split personality] ability, which ventriloquists develop by talking to themselves, has often been the subject of controversy…Many artists have opened up bank accounts for their figures, listed their names in telephone directories, and even entered them as candidates in election campaigns. Although this showmanship is part of the business of the entertainment world, the ventriloquist’s involvement in this façade is often found suspended between illusion and reality.


“During an engagement in Las Vegas, ventriloquist Jimmy Nelson once waited for his figure Danny to sing the last line of their closing song. The song was performed by Nelson in a rapid exchange of three different voices, but when it came to the final line of the song no sound issued from the figure. Nelson had forgotten for that second that he was providing the voice, and waited for the character to finish the song.


“The care and attention that Herbert Dexter gave to his figure Charlie…resulted in a divorce suit in which his wife named the mechanical figure as co-respondent…and his wife was granted a divorce.” (1, pp 151-155).


1. Valentine Vox. I Can See Your Lips Moving: The History and Art of Ventriloquism (From ancient sages to modern stages. Three thousand years of vocal conjuration). London, Plato Publishing, 1981/2019.

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