To live with the knowledge of what Karen Kingston witnessed was undoubtedly too much for her child’s mind to cope with. To further reject the one person in her life whom she needed most, her mother, left Karen totally alone in the world. Perhaps Karen Kingston attempted to “adjust” to her personal tragedy the only way she could–by inviting into her existence a new family of thirteen other personalities, as cruel and disturbed as they were. At least she was not alone.
The writing of Mother Divine, Chapter 11, is characterized by an extreme emotional response showing a strongly sympathetic nature. There is a shaky, uncertain quality about many of the formations, and a roundness suggesting immaturity. Letters vary in size and show signs of laborious execution as if writing was an unfamiliar chore. Both upper and lower loops appear large in relation to the awkward middle zone forms.
Imagination in the abstract and material areas is highly developed. Evidence suggests the writer is unusually possessive and strongly influenced by considerations outside the normal scope of living. An unusual philosophical bent is indicated and there is a pronounced desire for a position that carries prestige. The former is indicated by the twisted “l” in “speller;” the latter in the hanging loop on “m” in “magnetic.” This personality seeks an escape from harsh reality through flights into fantasy.
The large printed forms of Mariana, Chapter 13, show an immature, childlike quality. That the writer is capable of producing script is evident by the use of connective forms. Repeated underscoring suggests hostility in this sample. The uneven size of letters suggests a disturbed quality and the use of small letters with capitals within a word may be a kind of careless defiance, which beckons attention. This latter feature is confirmed in the back-swinging strokes on “e” in “please.”
The writing of Jeanne, Chapter 14, is most unusual as compared to the others executed during Karen’s exorcism. It is unique in the fact that it depicts a relatively well-ordered personality with very little anxiety; one whose only weakness would be a great reluctance to be wrong. While the personality is extremely responsive emotionally, stability is good. Ambition, hopefulness, enthusiasm, and pride in performance characterize this script.
This is a firm and forceful personality endowed with integrity, creative ability, and considerable leadership potential. Decisiveness and organization enhance the strong achievement motivation evidenced in the script. The writing shows a personality with strong convictions, but one that is influenced more by emotional factors than by well developed intellectual functioning.
The personality most strongly influenced by emotion is manifested graphically here in Envy’s handwriting, Chapter 15. The extreme far-right slant has the misfortune of being coupled with the most pronounced lack of ambition, lack of control, and poor adjustment; while ranking first in possessiveness, selfishness, hostility, egotism, and manipulation. Extreme insecurity is manifested, characterized by feelings of spiritual, emotional, social, and material neglect.
The personality is exceptionally negative towards others who are the perceived source of all things desired. This serves to drive others away and further frustrate needs. Fear of disapproval is a crippling force in this personality, which turns its own worst fears into harsh reality through impulsive, resistive behavior.
In the drawings of Mervin, Chapter 16, there is a noteworthy difference appearing in the several forms. The first figure (Hogs, Pigs) is softly curved and shows an effeminate quality. Its flatness and irregular size are typical of immaturity and with increased age are suggestive of a disturbed personality. The second drawing (FAST!) is also flat and distinctly angular, suggesting hostility. The pointed t-stem has a dagger-like appearance.
The oblique angularity shown in the third drawing (THE END), along with the even size and regular spacing of letters suggests good intelligence and unusual perceptual ability. Some unnecessary retracing suggests a disturbed quality in this figure.
This handwriting of Prudence, Chapter 27, offers little in terms of personality projection because it was deliberately drawn with the hand not usually used for writing. The erratic rhythm, jerky strokes, and irregular forms were primary evidence of a lack of motor control. Note also the bi-modality in the slant perspectograph for this specimen. This feature is indicative of poor control. As such, it would be unwise to draw many conclusions about the writer’s personality.