Myth #5: Anaïs Nin’s erotica disqualifies her as any sort of feminist.
In the February issue of Glamour, there is an article entitled “6 Crazy Sex Requests Women Just Like You Have Heard.” One of the requests, reported by a 32-year-old woman was, “My husband asked, ‘Can we do it, but can it just be all about me?’ It gets better: He said I could keep the TV on so I wouldn’t miss The Office” (Glamour, p. 100). On the Smoking Gun website, there is a “Contract of Wifely Expectations” in which a man lists requirements his wife must fulfill, which, it could be argued, are repressive to say the least. Both these articles reveal that for some men, patriarchy is alive and well.
As shown in the article “Feminist Smut(?)—A study of Anaïs Nin’s erotica,” by Angela Carter in A Café in Space, Vol. 6, patriarchy is a thread running through Anaïs Nin’s erotica (Delta of Venus and Little Birds). For example, Carter uses a story from Little Birds to illustrate that Nin wrote of women’s struggle for sexual liberation in a time of patriarchal mores:
When read in the context of feminist criticism, “Hilda and Rango” is in many ways one of Nin’s more troubling stories. The reader sees the story’s protagonist struggle because her sexual actions are not socially acceptable for women. As the story unfolds, Hilda becomes more and more sexually passive in order to please a male lover who subscribes to conventional gender roles. When the story ends as Hilda submits passively to a dominant male lover, it is easy to assume, mistakenly, that Nin is sustaining gendered traditionalism. (A Café in Space, Vol. 6, p.97)
The story is based on actual events between Nin and Gonzalo More, the Peruvian who swept her off her feet in Paris in the late 30s. Despite his apparent bohemianism, More was very traditional in that he felt women should be submissive and allow the man to “have his way.” Before meeting More, Nin had been sexually awakened in her relationship with Henry Miller, who allowed her to be bold and daring. “Hilda and Rango” parallels this duality: the natural desire to be sexually adventurous and the social pressure to be passive.
Nin writes that when Hilda makes an advance on Rango, he suddenly “pushed her away as if she had wounded him” and tells her that she “made the gesture of a whore.”
The story ends with Hilda submitting completely to Rango, denying her own sexuality in favor of his. Carter goes on to say:
Her will was her desire to initiate sex and Rango drove it out of her. He now rules her sexuality by denying it and forcing her to lay almost corpse-like while he teases her. In the last candlelit moment, he leads their intercourse like the demon she first saw in him. Sadly, this moment when Hilda’s idealized dream of passivity comes true is instead Rango’s moment, “his desire, his hour” (Little Birds 120). The moment that should have fulfilled the passive Hilda’s dream is not her moment at all. By leaving Hilda’s sexuality completely out of the story’s conclusion, Nin provokes the reader to question what happened to her desire, her hour. (A Café in Space, Vol. 6, p. 102)
Carter shows us that Nin indeed used her erotica to highlight the suppression of female sexuality. While Nin was never a second wave feminist in the true sense of the term, her erotica could be viewed as feminist since it expresses the struggle of women to be sexually liberated in the early 1940s, long before second wave feminism took root.
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