On March 7, the program Lust Letters: Answering Desire With Words was held at Coagula Curatorial in Los Angeles, which included artwork and readings. Among the performers was Barbara Kraft, who read from her memoir Anais Nin: The Last Days, a book that chronicals Kraft’s friendship with Nin during her final two years of life. A synopsis of the reading is as follows:
Barbara Kraft closed the evening with an account of author Anais Nin’s final days, implicitly lassoing together the writings of Aarested with the creative process of Nin modeled by Youd.
Kraft, who formerly worked as a journalist and now runs her own boutique public relations firm, recalled meeting Nin on February 8, 1974 in the author’s Silverlake glass house. Kraft said she was mesmerized by her.
“[Nin] was tall, wearing a floor-length Indian gown…She was poetry in body,” said Kraft, who read an excerpt from her e-book “Anais Nin: The Last Days – A Memoir.”
Kraft described Nin as her teacher during the acclaimed writer’s final years.
“The tutorial relationship turned into an intimacy,” said Kraft, who said that as Nin died of cancer, her body weakened and her pain intensified.
“At one point, I literally got in bed with her, at her request, to hold her,” said Kraft.
Kraft’s diary from her meetings with Nin were compiled and published in “The Restless Spirit: Journal of a Gemini.” Publication ended her marriage, and Kraft’s “whole life came crashing down,” she said.
“If you want to change your life, you pay a price,” Kraft added.
To read the entire review of the event by Matt Hamilton, click here.
Anais Nin: The Last Days is available as an e-book and can be ordered here.
To read an excerpt from Anais Nin: The Last Days on Huffington Post, click here.
Have we solved the mystery of who wrote the popular poem attributed to Anais Nin, known as “Risk”?
I can say this: Since posting this mystery a few years ago, nowhere has its source been found in any of Anais Nin’s oeuvre. So how did it come to be attributed to her?
That remains a mystery.
However, Elizabeth Appell has come forward with a compelling case that may hold the answer of who, if not Anais, actually wrote the poem:
What I’m about to tell you is going to seem strange and maybe even impossible, but it is the truth. I wrote the quote, “And the day came when the risk to remain closed in a bud became more painful that the risk it took to blossom.”
I wrote it in 1979. I was Director of Public Relations for John F. Kennedy University in Orinda. One of my responsibilities was to write, edit, and publish the class schedule which included events, news, and class information for the up-coming quarter. The target market for the university was and still is, adults going back to school. Every quarter I came up with a theme meant to inspire and motivate.
I believe it was January when I started on the spring schedule. Up against a deadline, I quickly jotted down the line, and shared it by my colleague, Jerry Skibbins, Vice President of Development. He liked it so we ran with it. Consequently it went out to thousands of households in the East Bay. We also published a poster and put it on BART trains. This was a very wide distribution. As far as I know, attribution was given to the artists who illustrated the designs, but I never thought to attribute myself regarding the poem. My name appeared only as “Editor.”
Another wrinkle: at the time I was using my nickname, “Lassie” as well as my first husband’s last name, Benton. I was known as Lassie Benton. Since then I gave up the nickname to use my given name, Elizabeth, and remarried Allen Appell, hence Elizabeth Appell.
From the beginning the school got a huge response from the poem. I started seeing it woven into tapestries, and then printed on posters, cards and in books. At first the attribution was “Lassie Benton.” One afternoon I attended a calligraphy show at the San Francisco Library. There was the poem, but now the attribution was “Anonymous.” Sometime in the 80’s I found a card using the poem. I bought because it was attributed to Anais Nin. I wrote to the publisher of the card, but received no response. I just let it go.
Recently I gave a reading in Nevada City, California as a part of a women’s writing salon. The woman who read before me began her piece with the poem. I smiled. “What do you know, it still lives.” She was shocked when I told her I’d written it. She suggested I Google the poem to see that always it is attributed to Anais Nin. I did. I am astounded at how it has proliferated the internet, almost always attributed to Anais Nin.
I say almost because I found a life coach in Arizona who uses the poem on her home page. There it is attributed to “Lassie Benton.” She tells me her web page went up in 2006, but she can’t remember where she found the poem.
Yesterday two of my friends brought me copies of their newly published books. Yes, in both books, up front, there it is. The poem. And of course it’s attributed to Anais Nin. That pushed me over to take action.
I wrote the poem in 1979. I am the author of the poem. I’m extremely honored to have written something that has touched so many people.
Elizabeth kindly produced the 1979 brochure on which the poem is printed, as seen above. Judge for yourselves, folks, but it seems that this mystery may be solved.
***Get the 2013 issue of A Café in Space: The Anaïs Nin Literary Journal with excerpts from Nin’s the soon-to-be-published Mirages: The Unexpurgated Diary of Anaïs Nin, 1939-1947 on Gore Vidal: click here for print version; click here for ebook version.
FOR IMMEDIATE RELEASE – February 27, 2013 Media Contact: Barbara Kraft Communications and Public Relations 818.760.8498; Barbara@bkraftpr.com
LUST LETTERS READINGS PRESENTED BY CHINATOWN’S COAGULA CURATORIAL MARCH 7, 2013, 7:30 p.m.
LOS ANGELES, CA – In conjunction with Coagula Curatorial Gallery’s Lust Letters exhibition, the Gallery is presenting an evening of performance and readings March 7, 2013, 7:30 p.m. The exhibition features Tim Youd’s Delta of Venus – a 30-foot piece of art inspired by Anais Nin’s erotic writings. Youd will perform his rendition of selections from Nin’s Delta of Venus.
Curator Joan Aarestad will address Eroticism in Art: A Woman’s View and writer Barbara Kraft will read from her newly published EBook Anais Nin: The Last Days.
Coagula Curatorial is part of the Chung King Road Gallery Row located in historic Chinatown in downtown Los Angeles at 977 Chung King Road. (323) 480-7852; www.coagulacuratorial.com.
For further information please contact Barbara Kraft Communications at 818.760.8498.
Anaïs Nin was never afraid of new ways to disseminate her work, working in several different media, much of it ahead of its time. Her words were on the page, read at spoken word events, recorded on vinyl, made into film, and were accompanied by electronic music.
In Volume 10 of A Café in Space, yet another platform for Nin’s work has appeared: comic book (or graphic novel, or manga). Joel Enos, a frequent contributor to A Café in Space and who works in the graphics media, decided to put Nin’s famous story “Under a Glass Bell” into comic book form, using the artwork of the talented Fiona Meng to visualize Nin’s ethereal Jeanne and her two brothers, who, according to critic Oliver Evans, are living out a life of psychological incest in their house. The siblings’ isolation from the world is represented by the glass bell, which, as Nin says, “covered the entire house.”
The prospects of such a representation of Nin’s fiction are tantalizing indeed, and I hope we will see more in the future. Below are some frames from A Café in Space, which can be ordered both in print and digital format.
Below, Jeanne has rushed from disturbing images she sees in the “room of mirrors” to her sleeping brother:
Under a Glass Bell (the ebook) can be ordered by clicking here.
Anaïs Nin was born 110 years ago the day this journal, our landmark 10th issue, is to be released, so we have two reasons to celebrate. Ten years ago, I, for one, had no idea that A Café in Space would ever reach such a milestone, and so I must pay tribute to those who have made it happen: our contributors and our readers. Without you, there is no journal on Anaïs Nin some 36 years after her death. It is our aim to continue spreading her words, to enlarge the circle, welcoming new readers and scholars from around the world. I certainly am honored to facilitate this forum for as long as possible, but I am also well aware that this is only a continuation of those who came before us, including Under the Sign of Pisces, edited by Benjamin Franklin V and Richard Centing, and ANAIS: An International Journal, edited by Gunther Stuhlmann. Without such formidable models, this journal would not exist in its present form.
Speaking of the roots of Nin scholarship, one of its key members, Duane Schneider, whose work on Nin led to Anaïs Nin: An Introduction (1979) and An Interview with Anaïs Nin (1970), which was reprinted in Vol. 5 of this publication, died in December 2012. A long-time teacher of English, publisher, author and scholar, he will be missed by his loved ones, his students and the Nin community. His old friend and “partner in crime,” Benjamin Franklin V, pays him tribute in this issue.
One of the 20th century’s greatest men of letters, Gore Vidal, also died in 2012. His connection to Anaïs Nin has long been one that attracts both interest and controversy, especially in light of his vitriolic attacks on her character even long after her death. It seems fitting, then, that we present three looks at Vidal, one of them by Anaïs Nin herself, and try to uncover the truth of their legendary relationship.
The Vidal excerpt from Nin’s unpublished diary also serves as a “preview” of Mirages: From the Unexpurgated Diary of Anaïs Nin 1939-1947, which is slated to be released in late 2013 as a co-publication of Sky Blue Press and Ohio University Press. This diary, the first to be published since Nearer the Moon in 1996, reveals how Nin’s forced return to New York nearly destroyed her personally but also helped her become a prolific and more mature writer. In a style of which only Nin is capable, she details the ends of her relationships with Henry Miller and Gonzalo Moré, her futile bonds with increasingly younger men, her publishing woes, and redemption in the form of Rupert Pole, the young, ardent lover who lured her to California, thus beginning her bicoastal double life.
The work of Anaïs Nin, which has by now been largely digitized, is beginning to spread around the world as electronic reading devices become more popular. In the past year or two, Germany, the UK, Italy, France, Spain, India, Japan, Canada, and Brazil are all serviced by popular ebook portals such as Amazon.com, and anyone with a computer, smart phone, tablet, or one of many other devices can now download Nin’s work, making it widely accessible in new locations.
As digital books increase Anaïs Nin’s readership, other formats are also emerging, and one of them appears in this issue: a graphic novel form (or, if you will, a “comic book” version) of one of Nin’s iconic works, “Under a Glass Bell.” Told by Joel Enos and drawn by Fiona Meng, Nin’s characters come “alive” on the page, and a portion of the ethereal story is presented in a way not seen before. Who knows what other kinds of digital media will lend themselves to popularizing Anaïs Nin’s work in the future?
To order the print version of Volume 10 (to be released Feb. 21, 2013), click here.
To purchase the digital version, click here and begin reading today.
Kim Krizan, whose Masters thesis was on Anais Nin, and who is a frequent contributor to A Cafe in Space, has written a new book in which Nin is a key character: Original Sins: Trade Secrets of the Femme Fatale. To find out about the book and how to become a part of its publication, read the press release below.
For Immediate Release: THE “BROAD” BEHIND BEFORE SUNRISE & BEFORE SUNSET LAUNCHES BOOK CAREER ON KICKSTARTER
Oscar Nominated Screenwriter “Kicks” Hollywood to the Curb by Debuting Non-Fiction Book With CrowdFunding Site
“You know how to make a little pledge, doncha? You just put your finger on the button and push.” – Kim Krizan
October 1st, 2012 – Los Angeles, CA. — Best known for writing and creating the generation-defining romance films BEFORE SUNRISE and BEFORE SUNSET, Oscar nominated screenwriter Kim Krizan is “kicking” Hollywood to the curb and taking her career to the crowd — crowdfunding, that is — with her new Kickstarter project: a tongue-in-cheek history of dangerous women entitled Original Sins: Trade Secrets of the Femme Fatale. [Click here to go to Kim's kickstarter page]
Krizan’s debut non-fiction book is being offered directly to fans worldwide in exchange for pledges of support. If Krizan raises $10,000, the book will be published and those pledging $25 or more will receive a hard copy.
“In Hollywood, a writer is either handing off ideas to a studio or writing spec scripts that rely on some business person to fund. The Hollywood writer is always waiting and at every turn, her work is in the hands of middlemen,” said Krizan. “With Kickstarter, I can go to fans directly and they alone get to decide whether my project goes out in the world.”
Original Sins: Trade Secrets of the Femme Fatale was inspired by Krizan’s long-time fascination with femme fatales, femme fatale films, and her experiences as a woman and a Hollywood writer. It asks timeless questions: “What does a woman wear when she kills her husband?” “What does a woman drive when she gets out of Sh*tsville?” and “How does a woman get revenge on society en masse?” It is sprinkled with examples from real-life history and is a mash-up of profane, profound, and perverse observations on female power.
Krizan’s Kickstarter campaign features a hilarious video of her “confession” to writing a book, shows her slipping through Chinatown on what appears to be a nefarious errand, and ends with her appearance in a bar where she asks an unsuspecting gentleman to support her Kickstarter project. “You know how to make a little pledge, doncha?” asks Krizan, a femme fatale who wouldn’t look out of place in the 1940s noir classic DOUBLE INDEMNITY. “You just put your finger on the button and push.”
To receive a copy of Original Sins: Trade Secrets of the Femme Fatale, Krizan has devised twelve pledge levels, allowing the potential reader to purchase the book in print or digitally, and to receive an array of bonus gifts. Her final pledge level allows the fan to have the unique experience of meeting Krizan at Los Angeles’ famous Union Station to live out their own BEFORE SUNRISE experience by walking and talking into the evening. “That film’s dialogue was based on my love of great conversations,” explained Krizan. “I find people infinitely interesting and I like nothing better than having an hours-long in-depth conversation on life and love.”
Krizan first stood out for her role as hip high school teacher Ginny Stroud in DAZED AND CONFUSED, who mouths the Fourth of July’s perennially favorite line, “Hey guys, one more thing, hey, this summer when you’re being inundated with all this American bicentennial Fourth of July brouhaha, don’t forget what you’re celebrating and that’s the fact a bunch of slave-owning, aristocratic, rich white males didn’t want to pay their taxes.”
Krizan went on to be part of the creative team that brought BEFORE SUNRISE and BEFORE SUNSET to life and for which she was nominated for an Academy Award. The films were directed by Richard Linklater and starred Ethan Hawke and Julie Delpy. Krizan also wrote the critically-acclaimed comic book, Zombie Tales: 2061, published by BOOM! Studios, and she regularly contributes to A Cafe in Space, a journal dedicated to the works of Anais Nin.
About Kim Krizan: Kim Krizan is an Academy Award-nominated writer of the films BEFORE SUNRISE and BEFORE SUNSET. She was born in Los Angeles and has a Master’s degree in literature. Krizan also appeared as an actor in a number of films, including SLACKER, DAZED AND CONFUSED and WAKING LIFE. Krizan teaches creative writing classes for UCLA Extension. Original Sins: Trade Secrets of the Femme Fatale is Krizan’s first book.
Barbara Kraft’s new memoir, Anais Nin: The Last Days is getting a lot of press lately, including a substantial excerpt on Huffington Post.
To read the excerpt, go to Huffington Post by clicking here.
To order the book, click here.
When Anaïs Nin met the 20 year old Gore Vidal in 1945, she found in him a kindred soul, one who understood her and her writing, which was something she rarely experienced. She was initially swept off her feet by his dymanic, self-assured, and elegant demeanor, and the emotional bond between them sprang forth very quickly. They grew to love each other, but since Vidal was homosexual, it was a torn love, one that could not be fulfilled physically. Nin and Vidal supported and inspired each other’s work, and Vidal, who worked as an editor for Dutton, was able to arrange Nin’s first contract with an American publisher.
Gore Vidal quite famously derided Nin in his work and in his comments after they had split, and Nin was not kind to Vidal’s work, characterizing it as pedestrian and beneath his capabilities. Was the vitriol a true reflection of their feelings for each other, or was it a result of the great pain of not being able to be true lovers? That is a question that begs to be examined.
Below are Nin’s first comments about Vidal in her soon-to-be-released unexpurgated 1940s diary:
November 19, 1945
Kimon Friar asked me to go to his lecture on love. At the Y.M.H.A. I was in a sad mood, so I dressed as Mary Stuart, who had her head cut off by a jealous Queen Elizabeth, in a tight black dress with long sleeves half covering the hand, a heart shaped black hat edged with pearls, and a white veil. Kimon lectured at the head of a long table. At the foot of the table one chair was empty, and I took it (Hugo had to sit behind me). Next to me sat a handsome Lieutenant, who, after I had leaned across him to speak to Maya Deren, spoke to me. “Are you French? I am a descendent of troubadour Vidal.” … He is luminous and manly. He is … not nebulous, but clear and bright. He talks, is active, is alert and poised. [H]e has [a] tall and slender body, … clear skin, and [a] full, sensual mouth. He is twenty years old. He is one of the editors at Dutton, and his own novel is appearing in the spring. He knows Under a Glass Bell and had guessed who I was. He asked when he might visit me. I said I would be home that evening or on Tuesday evening. He said he would come on Tuesday as he was not free that evening. But after a moment, he said: “I’d like to come this evening if you don’t mind.”
So four hours after meeting him, he walked into my studio. … His voice is rich and warm; he is intuitive. There is too much to tell.
When Gore Vidal says he will be the President of the United States, I believe him. He walks in easily, not dream-fogged, not unreal, not bemused … His eyes are … clear, open, hazel. They are French eyes. His face is square … He came Sunday afternoon. Then this evening we sat at the Number One bar and talked. His father is a millionaire. His grandfather was Senator Gore. His mother left them when he was ten to marry someone else. “She is Latin looking, vivacious, handsome, her hair and eyes like yours,” he said, “beloved of many.”
The boy-man is lonely. He rejects homosexual advances. He says: “In the army, I live like a monk.” He is writing his novel. He is clear minded, but emotionally confused and vulnerable. …
Will his French troubadour lineage stir in his memory some recognition of Anaïs, whose name comes from a little Greek town in the south of France? I feel yes, unconsciously. He has the courage to say: “May I come?” He telephones, he can command a taxi. Will he dare? I feel the bond, less than with Bill, but one that suits my present self better, for I am returning to my aristocracy and my pleasures, and leaving my bohemianism behind.
Gore talks about his childhood: “When my mother left me I became objective…I live detached from my present life…at home our relationships are casual…my father married a young model…I like casual relationships…When you are involved you get hurt. I do not want to be involved ever…”
Mutely … Gore’s sudden softness envelops me.
December 5, 1945
Gore is a lieutenant at Mitchell Field. He comes in on weekends, and Sunday he came to see me. We had a fine talk, lightly serious, gracefully sad. He read me from Richard II. “Why was he killed?” I asked. “Because he was weak. I am not weak,” said Gore.
No, he is not weak, but he might need Joan of Arc to place him on his throne. I told him his arthritic hand was due to a psychic cramp for writing about an ordinary hero when he himself is no ordinary young man. I teased him, touched upon his depression. His handwriting is chaotic and unstable. He took me to dinner.
Today he called me up: “This is troubadour Vidal.” His voice is lovely, musical …
December 10, 1945
Gore came, and we slid easily into a sincere, warm talk …
He takes me to dinner at the Lafayette. All the society mothers look for him, for their cocktails and dances. The debutantes write him letters: “Why are you so detached?” As we walk, I take his arm. This gesture has infinite repercussions upon the long distance range of his being. When I relinquish it, a moment later he extends it back and says: “Mon bras?”
… [He] is … adequate, answers all I say, and holds his ground. When we return home (he came at four and left at midnight), he makes me laugh with the most amazingly well-acted pastiches of Roosevelt, Churchill, a southern senator, a petitioner at the House of Commons, etc. … [N]ow, I abandon my writing, my need of the doctor, to write about him because I enjoy his presence. I enjoy being allowed into his secret self. His very far apart, clear hazel eyes open into mine: “I give you the true Vidal, a supreme gift.” Leaving, he says: “I’ll come on Wednesday. Don’t let anyone else come. Send Hugo away.”
For digital Anais Nin titles, visit our Anais Nin e-bookstore
For Immediate Release: December 5, 2011
SKY BLUE PRESS ANNOUNCES THE EBOOK PUBLICATION OF
ANAIS NIN: THE LAST DAYS
BY BARBARA KRAFT
San Antonio, TX “I have chosen to reveal the intimacies of Anaïs Nin’s last days as I witnessed them so that the story of her death is not lost. Everything comes back in the mind’s eye. Everything comes back in the crucible of the heart. She remains in my psyche all these years later as the most refined and rarified human being I have ever encountered.”
Thus begins Barbara Kraft’s memoir, Anaïs Nin: The Last Days. With her sometimes loving and sometimes raw prose, Kraft has done what no biographer, no scholar, no film could do: capture the humanity, mortality, and essence of one of the twentieth century’s most celebrated and yet mysterious literary figures. Anaïs Nin: The Last Days is available on Amazon’s Kindle, and soon the Nook, iPad, Sony Reader, as well as other e-book-friendly devices such as the iPhone and will be available through nearly every credible device worldwide.
Anaïs Nin, noted for her diaries and erotica, was at the height of her fame when she took on Barbara Kraft as a writing student. Quickly, the two became intimate friends at the moment when both would encounter tragedy: Kraft’s impending cataclysmic divorce and Nin’s terminal cancer. The circumstances created an environment of interdependency: Nin, despite her failing health, supported Kraft’s writing and life decisions, and Kraft became a devoted and untiring part of Nin’s support system during her last two years of life.
As Kraft observes,
“Illness is the great leveler from which none of us is immune. It flushes out all the old, buried truths and puts us in touch with the essential meaning of things. There is no time, no energy for masks, veils, labyrinths, interior cities, or multiple hearts. Death hovered over her, the one reality that Anaïs could not transcend or transmute or transform or levitate with the magic of words. It was a reality she met with a dignity that tore at the heart of all of us who knew her and were close to her.”
Kraft describes her initial meeting with Nin in February 1974, writing that Nin was poetry embodied and seemed to “glide” over the rose-colored carpet of her Silver Lake home “like a swan skimming the surface of still waters.” And in December of that year, Kraft begins what was to become a chronicle of Nin’s terrible two-year battle with cancer. She describes Nin’s vivid dreams during this period, her many trips to a healer in the Mojave Desert, and her frequent requests that Kraft wear her dresses when she went out, saying, “You will take my spirit with you out into the world.”
Because of the overwhelming reality of cancer, Anaïs Nin was stripped down to her bare essence, which Kraft captures expertly. She poignantly records not only Nin’s stubborn grip on life, but also the heroic efforts that Rupert Pole, Nin’s west coast lover, made to shield her from the inevitable pain, agony, and humiliation associated with the disease. It is a monumental tribute to not only those fighting for their lives, but also the forgotten ones—the caregivers.
The very personal events in this book can be appreciated by anyone who has gone through terminal disease or know someone who has. So, like Nin herself, the raw reality of Anaïs Nin: The Last Days becomes symbolic, mythical, and universally inspirational.
A former reporter for Time, Washington Post, People, USA Today, and Architectural Digest, Barbara Kraft is author of The Restless Spirit: Journal of a Gemini, with a preface by Anaïs Nin, and the recently published memoir Anais Nin: The Last Days, which Nin biographer Noel Riley Fitch calls “intimate and beautifully written.” Kraft’s work has appeared in Hudson Review, Michigan Quarterly, and Columbia Magazine, and among the many radio programs she has hosted and produced is Transforming OC, a two-part documentary on the 2006 opening of the Renee and Henry Segerstrom Concert Hall in Costa Mesa. Kraft lives and writes in Los Angeles, California.
Sky Blue Press, established in 1996 by Paul Herron, is “dedicated to the preservation of literature as art,” and strives to achieve this goal with each publication. Titles include Anaïs Nin: A Book of Mirrors (1996); To Purify the Words of the Tribe: The Major Verse Poems of Stéphane Mallarmé (1999); The Winter of Artifice: 1939 Edition by Anaïs Nin (2007); A Café in Space: The Anaïs Nin Literary Journal (2003-present); and e-book versions of Anaïs Nin’s fiction, including House of Incest, Under a Glass Bell, and A Spy in the House of Love; The Portable Anaïs Nin (2011); and Anaïs Nin: The Last Days, a memoir by Barbara Kraft (2011).
To purchase Anaïs Nin: The Last Days, click here.
There were few self-promoters as tireless as Anais Nin. When she wasn’t doing interviews, lectures, readings, and book signings, she was plotting new ways to get her work in the hands of readers.
In Paris during the 1930s, she partnered with two emerging modernist writers, Henry Miller and Lawrence Durrell, and together the “3 Musketeers,” as they called themselves, published 3 books in the “Villa Seurat Series,” named after the street where Miller’s apartment served as their headquarters.
In New York, when no one would publish her work, Nin bought a manually powered printing press and published her own work as beautifully crafted books. She joined forces with Frances Steloff, whose Gotham Book Mart was central to the Village counterculture literary scene.
During the 1940s, Nin began what would become a powerful vehicle for selling her books: lecture tours and readings. Slowly, she began to amass a small but passionate following despite the literary establishment’s failure to pay her any attention or respect.
At the end of the 1950s, Nin began a professional relationship with German expatriate literary agent Gunther Stuhlmann, whose never-say-die attitude and methodical approach finally began to break through to a larger public–first, publisher Alan Swallow undertook all of her fiction, and then, after Henry Miller had become famous in the USA after the obscenity trials allowed him to publish his banned books, Miller’s letters to her were published in 1964, bringing her the attention of a wider public. This set the stage for the release of her first Diary of Anais Nin in 1966. The rest is history. Nin then expanded her lectures, readings, and interviews, using auditoriums, films, recordings, radio and TV stations to express her message to a now adoring audience. She continued this until illness finally brought it to an end in the mid-70s.
After her death, it was left to others to promote her work, and admittedly there has been and never will be such an effective advocate as she. However, we continue her work as best we can. We have just celebrated Cyber Monday, and I know in my heart that Anais would have embraced this concept and would have taken advantage of it somehow. With that in mind, we are offering her work here at Sky Blue Press for attractive prices, and if you want to get Anais into your hands, this is a good opportunity. It is also a great chance to get her into the hands of your friends, loved ones, and colleagues, the uninitiated. There is little doubt that Anais Nin’s writing has been a positive influence on those who are fortunate enough to have found her, and we strive to widen the circle.
We are offering The Portable Anais Nin, the new print version, which contains the best of Anais’s writing, chronologically arranged; Anais’s only banned book, the original 1939 version of The Winter of Artifice; all issues of A Cafe in Space: The Anais Nin Literary Journal, and more.
Visit http://www.skybluepress.org for details.