Thanks to Kim for the following:
Myth #2: “Anaïs Nin was a success because of Henry Miller. He taught her to write and she used him. If it wasn’t for him she would’ve been completely unknown.”
Henry Miller did indeed have a positive effect on Nin’s early fiction writing. The example above is a page from one of the working drafts of the story “Djuna” from The Winter of Artifice (1939) and the final product. Miller’s handwritten suggestions and deletions make it into the published version of the story. The paragraph beginning with “Here are my dreams for the month…” is verbatim from Miller’s notes. Examples like this are found throughout this and other versions of the manuscript. So there is little question that Miller not only gave Nin advice on her writing, she willingly accepted and incorporated it.
However, to indicate that Miller was responsible for Nin’s success is as flawed as saying she was responsible for his. They influenced each other. Miller’s Scenario, for example, is what many consider a poor rendering of Nin’s House of Incest, which was evidently, according to most critics and Nin herself, misunderstood by Miller. While Miller criticized Nin’s use of the English language (it was her third language, after French and Spanish, respectively), and sometimes rightfully so, Nin criticized Miller’s uni-dimensionality in his writing, most notably his tunnel-view, and therefore miscomprehension, of his own wife, June. While Nin was able to use Miller’s criticisms to her advantage, Miller was not as willing to use hers, which is most likely to his detriment (consider the flatness of the Rosy Crucifixion trilogy compared to the Paris books, for example). He certainly, however, was willing to use Nin’s resources to make it possible for him to write while in relative comfort.
Throughout the Nin-Miller relationship, the diary swelled with accounts of her tumultuous life, written freely and beautifully, without the restraints of what she called “literature.” History has shown us that the diary is her masterpiece, not the fiction, not the “literature.”
A side note: it was serendipitous that Miller’s Tropic of Cancer came out in the early 60s, followed by his Letters to Anaïs Nin in 1965. Nin’s Diary came out the following year, and there is little doubt that Nin’s agent Gunther Stuhlmann envisioned the letters, which he edited, as a segue to the Diary. So does that mean that Nin used Miller to gain success? No, it meant that while Stuhlmann was intelligent and crafty enough to let momentum build towards the release of the Diary—Miller, after all, was inherently linked to Nin whether or not anyone planned it—the time was right, the popular culture was right, the level of openness was right for both Nin and Miller’s books to be released, read, and lauded for the magnificent works they were.