Tweetfest of Anais Nin’s House of Incest

Gemor edition of House of Incest

Gemor edition of House of Incest

As mentioned in the last post, to celebrate the upcoming publication of The Portable Anais Nin, we are tweeting Nin’s House of Incest, 140 characters at a time. Join us on Twitter to follow the enchanting words as they wind about one like dream filaments, each one standing alone as a stroke of unconscious genius, and all of them creating an epic work as they are woven together.

The House of Incest was originally published in 1936 by Siana (Anais spelled backwards) Editions in Paris as a small edition. Nin republished it in 1947 through her Gemor Press (named after Gonzalo More, her lover and collaborator), handset with engravings by Ian Hugo (pseudonym of Hugh Guiler, Nin’s husband), and once again by Swallow Press including photomontages by Val Telberg. Soon, it will be included in its entirety in The Portable Anais Nin. No matter the edition, Nin’s famous prose poem inspires the reader to plunge into the interior where creation begins.

Our Nin titles on Kindle are: Collages, The Winter of Artifice, Under a Glass Bell, Ladders to Fire, Children of the Albatross, A Spy in the House of Love, and Seduction of the Minotaur, and The Four-Chambered Heart, with more to follow. 

New Anaïs Nin anthology coming soon

We are only a few weeks away from the release of a new collection, The Portable Anaïs Nin, which will appear on Kindle in the coming weeks. It will be the first full-length anthology of Nin’s writing since Phil Jason’s The Anaïs Nin Reader (1973).

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Anais Nin with her self-published Under a Glass Bell

Editor and compiler Benjamin Franklin V notes in his introduction, “Since [the publication of The Anaïs Nin Reader]…the number of Nin titles has approximately doubled, with eleven new volumes of the diary and two books of erotica being most important. Now, the time seems right for another sampling of Nin’s work, not only because of the existence of this new material or because almost forty years have passed since the publication of Jason’s book, but also to encourage a reconsideration of Nin’s writing, which no longer attracts the dedicated readership it did in 1973.” Another consideration is that The Portable Anaïs Nin will appear in conjunction with several new Nin titles on Kindle, acting as a sort of guidebook to her work, helping to gain the new audience Franklin envisions.

Franklin’s philosophy is to include entire passages of Nin’s work in The Portable Anaïs Nin, including titles of fiction such as House of Incest. Soon, we will post the table of contents here, and will provide regular updates on the book’s progress.

In the meantime, follow us on Twitter, where we are about to do something along the lines of what was done to promote Marguerite Young’s Miss MacIntosh, My Darling: Nin and several others read the entire 1200 pages on the New York radio station WBAI over the course of a year. In this light, I feel Anaïs would approve of our tweeting her House of Incest, 140 characters at a time, to celebrate The Portable Anaïs Nin.

Our Nin titles on Kindle are: Collages, The Winter of Artifice, Under a Glass Bell, Ladders to Fire, Children of the Albatross, A Spy in the House of Love, and Seduction of the Minotaur, and The Four-Chambered Heart, with more to follow. 

Anaïs Nin Myth of the Day #15

Myth #15: Rupert Pole “romanticized” the story of his first meeting of Anaïs Nin.

After Anaïs Nin’s death in 1977, Rupert Pole loved to tell the story of how he met her, the great love of his life, for the first time. In early 1947, they had both been invited to the same party, and they happened to get into the same elevator on their way up. He said one of the first things he and Anaïs noticed were each other’s ink-stained hands, which became the basis for their conversation that night—they both worked at print shops. It has been said in at least one Nin study that there was no basis for his description, that Nin’s version of the evening was quite different than Pole’s, that she never mentioned having ink on her hands, nor on his, in any of her writings. The conclusion was that Pole invented these details in a “romanticized” and “charming” version of the story.

However, in one of Anaïs Nin’s final unpublished diaries, she recalls the meeting:

Rupert Pole in 1943, 4 years prior to meeting Nin

The young Rupert Pole

There was a party at the Chelsea Hotel, the old fashioned Hotel writers loved. I wore a black taffeta long skirt and a blouse. I entered the elevator. A very tall, very slender young man lowered his head to see the other passengers. I suddenly became aware of large eyes, brown, green, gold, eyes the color of Venice. His eyelashes were dark and very thick. His eyebrows very hairy. He had a long slender neck. This whole design of his neck and shoulders was of extreme stylization and yet he looked sturdy. We happened to sit on a couch. And then it was we noticed each other’s hands: ink stained only as printers get stained. We talked about printing. He was an actor, and between jobs he helped his friend to print Xmas cards. And I was printing my own books. He appeared to me the ideal figure for Paul in the Children of the Albatross.

While this memory was recorded late in Nin’s life, it matches Pole’s version of the story closely, disproving the argument of romanticized embellishment.