(cont.) Its shocking details of abuse at the hands of a likely schizophrenic mother — cold-water enemas administered while the young “Sybil Dorsett” is hanging upside down from a light bulb cord over the kitchen table are one “matinal maternal ministration,” to use Schreiber’s affected terminology — exceed those in Stephen King’s novel “Carrie.” Sybil supposedly had a bead shoved up her nose; a buttonhook inserted in her genitals; and was blindfolded and shut in a trunk.
Rather than telekinetic powers, she develops a preternatural ability to assume different personas. Struggling in work and love, she finds herself dissociating from reality, “losing time.” At one session she begins speaking with a countrified accent and identifies herself as “Peggy.” The number and variety of these different characters — which include two male carpenters, “Mike” and “Sid” — increase exponentially into an “entourage of alternating selves.”
The real case studies here are of medical and journalistic malpractice. Wilbur by any modern metric crossed the line from transference to enmeshment. She crept into her patient’s bed to administer electroshock treatment with an outdated device, doled out Pentothal (a barbiturate then wrongly thought to act as a truth serum) to the point of addiction, and took her on creepy road trips.
Presented with a rueful letter from Mason that she’d been “essentially lying” about not only the different selves but her mother’s tortures, Wilbur refused to reconsider her diagnosis, Nathan reported. Her patient was in a state of “resistance” to the terrible truth, the psychiatrist maintained.
When Schreiber tried to play Capote, visiting Dodge Center and examining Mason’s medical records, she found discrepancies galore. But all three women were too emotionally and economically invested in the project to abandon it, even forming a company called Sybil Inc.
The notion of multiple personalities has remained big business. During its brief tenure in the Diagnostic and Statistical Manual of Mental Disorders from 1980 to 1994, cases mushroomed among the female populace, along with a fever of recovered memories stoked by another since discredited book, “Michelle Remembers.” Perhaps never before or since has the medical profession been so entwined with story. What could be more dramatic, more compelling, than a protagonist and numerous supporting players in one body? (The manual now describes the condition less suggestively, as dissociative identity disorder.)
Hollywood had already harvested “The Three Faces of Eve,” a best seller about the case of Christine Costner Sizemore; the film won Joanne Woodward an Oscar in 1958. (Woodward would play Wilbur in the first TV movie of “Sybil.”) The multiple-personality phenomenon became a mainstay of talk shows, from Schreiber and Wilbur appearing on Dick Cavett’s to Oprah Winfrey declaring it “the syndrome of the ’90s.” One of her guests, Truddi Chase, identified 92 separate personalities, which Chase called The Troops.
Memoirs of the condition, including Chase’s best-selling “When Rabbit Howls,” abounded. Friends of the real-life “Sybil” arrived with sequels, showcasing her paintings. Further cinematic depictions ranged from the sublime (Edward Norton in “Primal Fear”) to the ridiculous (Jim Carrey in “Me, Myself & Irene”). (cont.)