When Volume 4 of Gunther Stuhlmann’s ANAIS: An International Journal appeared in February 1986, Anaïs Nin’s husband, Hugh (Hugo) Guiler, aka Ian Hugo, had recently died suddenly in his New York apartment. Long the “silent” partner of Nin, the “East Coast” husband and banker-turned-artist whose experimental films are still revered today, Guiler is the main focus of this issue, with a remembrance by Nin’s brother Joaquin, excerpts from interviews and studies, his own thoughts on the arts of engraving and making movies as well as recollections of growing up in Puerto Rico and Scotland under extreme conditions, which influenced his life and art.
Also included in this issue is critical correspondence between Anais Nin and Henry Miller at the dawn of their relationship, most of which is focused on their respective writing efforts. These letters make it clear how much one influenced the other’s work, from Miller’s unadulterated criticism of Nin’s use of the English language to Nin’s efforts to keep Miller focused on the essentials in light of his tendency to go off on tangents and to exhaust every thought running through his over-active mind. We are given tangible examples of how Miller’s commentary on Nin’s fiction actually found its way into the finished products.
There is a study on Otto Rank by Nin scholar Sharon Spencer, whose hypothesis that Nin and Rank were lovers was spot on, and a look at Nin’s friend Caresse Crosby and her famed house, Hampton Manor, which attracted the likes of Nin, Miller, and Salvador Dali, among many other artists in the early 1940s.
To preview and/or order volume 4 of ANAIS: An International Journal, click here.
To preview and/or order ANAIS volume 3, click here.
For volume 2, click here.
For volume 1, click here.
To view other new Nin-related publications, click here.
Volume 3 of Gunther Stuhlmann’s ANAIS: An International Journal (1985) is now available as an e-book, as plans to digitize all 19 issues move ahead.
Stuhlmann, once Nin’s literary agent and co-editor, created ANAIS in 1983 in the wake of the demise of the only other Nin-related journal, Under the Sign of Pisces. Unlike its predecessor, however, ANAIS became a full-fledged journal of literary criticism that won awards for its excellence. Stuhlmann continued publishing ANAIS annually until just before his death in 2002. Of course, A Café in Space, the current Nin journal was born shortly thereafter.
Volume 3 contains excerpts from Nin’s riveting letters to her mother just as war was about to drive her and most of the other ex-patriots from Paris. Excerpts from Nin’s Early Diary also appear, as well as her views on fame. A study of Cuban author Julieta Campos is presented, with excerpts from her work, translated here in English for the first time. Anna Kavan’s work also appears, as well as articles and studies by Nin scholar Philip Jason, Otto Rank, André Bay and Peter Owen.
To preview and/or order ANAIS volume 3, click here.
For volume 2, click here.
For volume 1, click here.
To see A Café in Space, click here.
This past year has been a busy one when it comes to new Anais Nin-related publications, and we want to make it simple for you to keep up to date. Here is a list of the latest Nin titles available at the Kindle store or app, beginning with the most recent:
ANAIS: An International Journal, vol. 4, edited by Gunther Stuhlmann, originally published in 1986. This issue is dedicated to the memory of Nin’s husband, Hugh (Hugo) Guiler, his life and his art, with contributions from art critics, Nin’s brother Joaquin, and Guiler himself. Also included are important letters between Henry Miller and Anais Nin regarding their respective writing efforts, which shed light on the degree of influence each had on the other. Studies of Otto Rank, Nin’s friend Caresse Crosby, ancient Japanese poetry, and Nin’s writing round out the issue. For more on this title, click here.
The Authoritative Edition of The Four-Chambered Heart. The third novel of the Cities of the Interior series comes with an introduction by Anais Nin, character descriptions, publishing history and author chronology. For more on this title, click here.
The Authoritative Edition of Children of the Albatross. The second novel in the series entitled Cities of the Interior. The introduction is culled from Nin’s own words, and also included are character descriptions, publishing history, and a chronology of Nin’s life and work. For more on this title, click here.
The Authoritative Edition of Ladders to Fire. Anais Nin’s first full-length novel comes with the original prologue, character descriptions, publishing history, and a chronology of Nin’s life and work. For more on this title, click here.
ANAIS: An International Journal, vol. 3, edited by Gunther Stuhlmann. Originally published in 1985; available digitally for the first time. With excerpts from Anais Nin’s diary, the work of Anna Kavan and Julieta Campos; articles by Otto Rank, Philip Jason, Tristine Rainer, et al. For more on this title, click here.
The Novel of the Future. Contains the whole of Anais Nin’s writing theory, beginning with “proceed from the dream outward…” Available as an ebook for the first time.
The Quotable Anais Nin, 365 quotations with citations. A quote for each day of the year, cited with book title and page number—the only such book completely devoted to Anais Nin.
Anais Nin Character Dictionary and Index to Diary Excerpts by Benjamin Franklin V. A complete guide to all of Anais Nin’s fictional characters—with descriptions and sources—as well as an index to all quotations from the previously unpublished diaries.
ANAIS: An International Journal, vol. 2, edited by Gunther Stuhlmann. Originally published in 1984; available digitally for the first time. With excerpts from Anais Nin’s diary and articles by Nin scholars Philip K. Jason, Suzette A. Henke, as well as Harry T. Moore.
Mirages: The Unexpurgated Diary of Anais Nin, 1939-1947. After a seventeen year wait, finally the sequel to Nin’s unexpurgated diaries is here. An inspiring and cathartic journey through the many relationships and works of art in 1940s New York. Details about Nin’s connections with Gore Vidal, Henry Miller, Gonzalo Moré, and Rupert Pole.
A Café in Space: The Anais Nin Literary Journal, vol. 11, edited by Paul Herron. Excerpts from Anais Nin’s 1950s diaries; the controversy over Alfred Perlès’s My Friend Henry Miller; articles by Kim Krizan, Jean Owen, John Tytell et al.
Stay tuned–more titles are in the works!
Another step in digitally reproducing editor Gunther Stuhlmann’s 19-volume ANAIS: An International Journal has been taken: Volume 2 (1984) is now available in Amazon’s Kindle store, which means it can be read on any device with a Kindle app.
Now that some of the original print issues are out of print, or close to it, we feel it is important that the contents of these valuable journals are preserved.
Volume 2 contains diary excerpts and correspondence by Anaïs Nin on Marcel Proust, Colette, the films of Ian Hugo, the impact Otto Rank had on her and Henry Miller, and her long friendship with Caresse Crosby of the Black Sun Press.
Ian MacNiven, biographer of Lawrence Durrell, theorizes that Nin wanted more out of her friendship with Durrell than did Durrell, that it was more than mere misunderstanding of each other’s work that separated them later in life. Suzette Henke explores how Nin’s understanding of Freud influenced her fictional characterizations, especially Lillian, the heroine of Seduction of the Minotaur. Philip K. Jason presents a history of Nin’s Gemor Press—its birth and the reasons for its demise.
Special sections on Crosby, Proust and Rank, along with poetry and rarely seen excerpts from relevant literature complete the issue.
The year after Anais Nin’s longtime agent and diary editor, Gunther Stuhlmann, died, I paid a visit to his wife, Barbara, in their hand-built house in the Berkshires. It was a sad visit; Gunther used to fill every room with his bigness—physically, intellectually, spiritually, and sonically—and now in his place was a deafening emptiness, a vacuum, and we were constantly aware of it.
When Gunther died, so did his award-winning and long-lived (19 annual issues, 1983-2001) ANAIS: An International Journal. In fact, Nin Trustee Rupert Pole issued a public statement that all distribution would cease immediately.
But when Barbara and I went down into her basement, there were boxes upon boxes of all 19 issues piled high—we knew we had to find a way to continue to put these treasures into readers’ hands, statement or no statement.
So, we packed up a load, and I took them home and have been distributing them ever since, Barbara sending me more copies as needed.
But since Barbara died early last year, I have come to realize whatever I have left in stock is the end of the line.
Yesterday, someone ordered Volume 1, and in the container there was only one left. I am mailing it out today, not without some emotion.
However, Barbara and I had agreed that digitizing ANAIS was another way we could continue to put it into readers’ hands. And so, on the same day that I am mailing out the last Volume 1, I am proud to announce the e-publication of the same issue.
In ANAIS, Gunther Stuhlmann’s bigness can still be felt, and there is still much we can learn from him and those who fill this premier issue’s pages.
When Anaïs Nin republished her House of Incest in 1958, she incorporated the surrealistic photomontages of the artist Val Telberg. The collaboration became well-known, as all subsequent editions of the book contained his work, including Nin’s own image within the photomontages.
Val Telberg was born in Moscow in 1910 to Finnish parents and was brought up in China. He moved to New York in 1938 and was introduced to surrealism while working as a photographer, thus sparking his interest in photomontage.
A remembrance of Telberg and Nin’s association by Gunther Stuhlmann appeared in Volume 14 of his ANAIS: An International Journal (1996):
IN THE SUMMER OF 1958, while travelling in Europe, Anais Nin sent an enthusiastic note to her friend Vladimir Telberg von Teleheim, the Russian-born artist-photographer who had been experimenting for some time with photographic images to enhance a planned re-issue of her House of Incest, which had been out of print for almost a decade. “Dear Val;” she wrote on stationery from the Hotel de Crillon in Paris, “I love the photomontages, the selection, the cover—perfect I feel… It’s wonderful how you have welded the images and the texts. They are poetic in their own terms, in their own language. The feeling of a floating world is so powerful.”
Their project had been part of Anais Nin’s determined effort in the late 1950s to republish and distribute once again her own books. She had discovered that a new offset process enabled a Chicago printer, Edward Brothers, to reproduce at reasonable cost the pages of her own hand-set and hand-printed 1947 Gemor Press edition of House of Incest (and those of other titles) directly from the original. Val Telberg, who then made his living on Sixth Avenue in New York as a dealer in maps, atlases, and scholarly books on Eastern Europe and Asia, was an experienced bookman. But it was Telberg the artist, who had studied at the Art Students League, the experimental filmmaker and inventive photographer, whom Anais Nin invited to collaborate with her. “I like so much what you are doing,” she had written to him initially, after seeing some of the images he had begun to create in the 1940s. She had given him a free reign and set no deadline. “When your dummy is ready, your cover photo, etc., then you can send it to me.”
WHEN THE FIRST 1,000 paperbound copies of the re-born House of Incest finally appeared, they featured, in front and back, one of Telberg’s subtly imagined montages, which seemed a perfect summary visualization of Anais Nin’s poetic text: A partly obscured female head and partial, nude body, with arms raised, appeared to rise into a sea of shimmering clouds overspreading the shadowy outlines of roofs and, in the left bottom corner, the light-framed silhouette of what might be an ornamental bedstead or the fragment of a metal fence. (“Ghosts of past defeats flaunting forgotten wounds and imagined dreams,” reads one of Telberg’s worknotes, “…and the sudden burst from under water up to sky.”) Of the hundreds of prints composed by Telberg on his light table by manipulating layers of negatives of photos taken of people and objects in the “real” world, only nine appeared in the finished book. Some of these “unreal,” dreamlike, spatial compositions incorporated floating images of the real Anais Nin, and one of the photomontages reveals a partial view of the artist’s face with one dark-rimmed demonic eye, enmeshed in a cubist swirl of hands and hair juxtaposed against the massive slice of a brick wall.
Val Telberg missed some of these celebratory events, and the first copies of the new House if Incest became available only a few days after his death, at the age of eighty-five, in April 1995.