The Quotable Anaïs Nin: 365 quotations with citations

Anaïs Nin is one of the most often quoted authors on the web. If you do a simple search, tens of thousands of sites appear, each with dozens of quotations that have inspired thousands of viewers to repost them, tweet them, collect them, print them on posters, t-shirts, cups, bookmarks, and just about every imaginable surface. The cut-and-paste nature of the internet, however, does not always lend itself to accuracy or even veracity—there many quotations that contain typos, omissions and alterations, and there are also plenty that are wrongly attributed to Nin.

QuotableCover1smallerWe have, on this blog, tried our best to keep readers aware of these problems, including rectifying the misattributions of “Risk” (“And the day came when the risk…”) and “Good things happen to those who hustle,” the authors of which are apparently Elizabeth Appell and Chuck Noll, respectively. But we decided to go a step further, and that was to collect and cite as many meaningful Nin quotes as we could in The Quotable Anaïs Nin, which contains 365 quotations with the titles and page numbers of the publications from which they come.

A unique feature of the Quotable is the presence of several quotations that come from Nin’s unpublished work. As we know, she wrote at least 35,000 pages in her diary, and of this a large portion has either ended up on the cutting room floor or hasn’t yet been published. Within this vast material are many gems that have been culled from this inaccessible material and made public for the first time in Quotable.

The Quotable Anaïs Nin not only offers accurate quotations and sources, it provides readers with insightful and inspiring thoughts, one for each day of the year.

To see a preview and/or to order The Quotable Anaïs Nin from Amazon click here. To order from Smashwords click here.

ANAIS: An International Journal, Volume 2, now on Kindle

 

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.

Anais Nin in Ian Hugo's film "Bells of Atlantis"

Anais Nin in Ian Hugo’s film “Bells of Atlantis”

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.

Volume 2 can be viewed by clicking here.

Volume 1 (1983) can be viewed here.

A Café in Space: The Anaïs Nin Literary Journal (Vols. 1-11) can be viewed here.

The Great “Scandal” of My Friend Henry Miller by Alfred Perles

 

Henry Miller and Alfred Perlès, Big Sur, 1954. (Photography: Wynn Bullock)

Henry Miller and Alfred Perlès, Big Sur, 1954.
(Photography: Wynn Bullock)

In 1955 a little-known controversy between Anais Nin, Henry Miller, and Miller’s old Paris friend Alfred Perlès erupted over revelations in Perlès’ book-in-progress, My Friend Henry Miller, that Nin and Miller were lovers in Paris during the 1930s. Nin, who was terrified that somehow her husband, Hugh (Hugo) Guiler, would read the book and discover that for nearly a decade his wife and Miller conducted an affair under his nose, a discovery which, as Nin put it, would cause him considerable pain.

 

Perlès innocently sent a letter to Nin mentioning the book, thinking that Nin and Guiler had divorced, a story that Reginald Pole (father of Nin’s California lover, Rupert Pole) had told Miller during a recent visit. Miller and Perlès, then, felt no harm would be done by the mention of the Nin-Miller affair. The fact was the Nin had told Rupert and his family that she’d divorced Guiler, which allowed her to marry Rupert (bigamously) in March of 1955.

 

Nin not only was forced to endanger her relationship with Pole by admitting she never divorced Guiler, but she also had to somehow convince Perlès and his publisher that her name needed to be removed from My Friend Henry Miller—which, at this point, was already at proof stage.

 

A series of letters between the principal characters appears in Volume 11 of A Café in Space, and not only do they shed light on this long-forgotten dispute, but they also detail the lasting effect it had on the book, Perlès and Miller, who never forgave Nin for—in his opinion—ruining the book his old friend had written about him.

To order Volume 11 of A Café in Space, click here: http://www.amazon.com/Cafe-Space-Anais-Literary-Journal-ebook/dp/B00IFQKEZ2/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1392574282&sr=1-1&keywords=cafe+in+space+11  or download and use the Kindle app on your iPad, iPhone, etc.

 

Update on Mirages: The Unexpurgated Diary of Anais Nin

UPDATE: Mirages: The Unexpurgated Diary of Anais Nin, 1939-1947 is now available as an ebook from Amazon, and it can be ordered from your device or by clicking here.

Anais Nin, 1940s Copyright: The Anais Nin Trust

Anais Nin, 1940s
Copyright: The Anais Nin Trust

Because of printer delays, the release date of the hardcover version has been pushed to November 1, 2013. The good news is that until then  you can still pre-order at the discounted price. To reserve a copy, click here.

Lastly,  The Daily Beast has produced the best analysis to date of Mirages. To read the article, click here. The author of the post, Lizzie Crocker (@nymtwit), shows she truly understands the message and value of Anais Nin.

Happy reading!

Sky Blue Press Partners with Swallow Press on New Anais Nin Diary

Anais Nin is coming full circle, thanks to the book deal between Sky Blue Press and Swallow Press, founded by Anais Nin’s first true American publisher, Alan Swallow. Mirages: The Unexpurgated Diary of Anais Nin, 1939-1947, the first new Nin diary since 1996, will be released both as a print book (Swallow/Sky Blue Press) and an e-book (Sky Blue Press) on October 15, 2013.

MIRAGES

Click to enlarge

Culled from the original handwritten diaries kept by Nin from the time she fled the war in France in late 1939 until she met the man who would become her “West Coast husband” in 1947, Mirages tells the story Nin purposely left out of volumes 3 and 4 of The Diary of Anais Nin, which were published in 1969 and 1971, respectively. Because Nin’s husband Hugh Guiler was alive when these two volumes were released, not to mention her many lovers, Nin was forced to excise the erotic side of her life almost entirely. Not only was the sexual element gone, but also her great struggle to re-acclimate herself to 1940s New York after blossoming as a writer in Paris during the 1930s.

Finally, Mirages completes the story of Anais Nin’s agonizing journey to re-invent herself both as a writer and as a woman.

More information coming soon.

To pre-order Mirages at a 30% discount, click here.

Anais Nin’s problem with American publishers

Anais Nin, who had written the novel A Spy in the House of Love, was having great difficulty getting it published. None of the big New York publishers were interested in Nin’s ethereal fiction, preferring instead Hemingway or Mickey Spillane novels; in other words, uncomplicated and in-your-face good ol’ American writing.

One of the many publishers Nin contacted was Pellegrini & Cudahy, and below is a rejection letter written by a certain Coley Taylor, who decided to be “honest” in his assessment of the novel. What makes this somewhat unusual was Nin’s response to the rejection letter; Nin usually vented in her diary, not in letters to the publisher. Her to-the-point response makes her frustration with the American publishing scene very clear, as you shall see.

Rejection

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Nin’s response:

I was not angry at your frankness and everyone has a right to his personal opinions. However I find that under cover of honesty and personal reactions if you expressed a lack of tact of human courtesy and a limited insight. The whole cause for the deterioration of publishing and writing lies precisely in this lack of literary objectivity and this substitution of unskilled emotional reactions to writers. It is you who are bored, who failed to see the continuity or the revelation of character. Maturity in evaluation consists precisely in examining your inner subjective reactions so as not to inflict them upon writers as criticism. It does not harm me because I am a veteran, but your so called honesty harms young writers. Your letter was insensitive rather than honest, destructive and irresponsible if it had been addressed to a beginner who believes that publishers are impartial, objective mature critics, men of taste capable of evaluating writing.

Nin’s claim that she was unharmed is to be taken with a grain of salt. The repeated and unrelenting rejection of her work in America took its toll on her. It would be another nine years before she was to find the publisher who would put all her fiction into print: Alan Swallow.

To see more about A Spy in the House of Love, click here.

To read Nin’s response to a critic, click here.

To purchase A Spy in the House of Love, click here.

To purchase Cities of the Interior (which includes Spy), click here.

 

 

Anaïs Nin’s Cities of the Interior: a history

For the first time, a digital edition of Anaïs Nin’s Cities of the Interior is being made available. To get an idea of the history of this collection of five novels written over a dozen year period, read Nin’s preface, written for the Swallow print edition of the book in 1974:

 

CitiesCoverFINAL

Cover of ebook edition. Engraving by Ian Hugo.

 

When Ladders to Fire was accepted by E. P. Dutton, I explained that it was part of a larger design, and that other novels would follow and round out the characters. The editors were aghast. They said the American public would never read a novel which threatened to continue, a “roman fleuve” as it is called in France. In 1947 the book was published as an independent novel, and nothing was said about development and continuity. For that reason, I did not develop a method of linking the various narratives.

 

I began the next novel, Children of the Albatross, as if it were a new story. Though the same characters appeared, the theme was altogether different. Dutton’s nervousness was dissipated. Children of the Albatross was published a year after Ladders to Fire, but the link had to be made by the reader (or the critics), and naturally it was not.

 

Then Dutton planned to wait four years before publishing the third novel, The Four-Chambered Heart, and I feared the continuity would be lost in the waiting, so I gave it to Duell, Sloan and Pearce. But it was still to take three years after Children of the Albatross appeared before The Four-Chambered Heart was published. Much was lost by never stressing the continuity and interrelatedness of the novels. Unlike Durrell’s Quartet, which was openly described as a unity, my novels (in a much earlier period) appeared without explanation. Duell, Sloan and Pearce turned down the fourth book, A Spy in the House of Love. It was finally done by British Book Centre four years after The Four-Chambered Heart saw print. The continuity was totally erased by then.

 

Finally, I published Solar Barque myself, making it a small book with interesting drawings by Peter Loomer, age 11. It focused on an episode of Lillian’s life. At the time I thought it contained all I wished to say, but like a piece of music which continues to haunt one, the theme continued to develop in my head; and I took it up again and carried it to completion. Now there was a problem for my new and loyal publisher, Alan Swallow. Should we reprint Solar Barque with the new material? No one would notice then that it had been added to, and the reviewers would not review the same title twice. Swallow decided to make a new book with a new title: Seduction of the Minotaur. Some reviewers complained bitterly because they had already read the first part. Generosity was not exactly rampant, and again I could not come forward to explain how I worked. It might have compounded the difficulties. When all the novels went out of print, and people wrote me asking for them, I published them together under the title Cities of the Interior (1959), and for the first time the continuity was established.

 

Now that the links between the novels are made clear, I hope the journey through the Cities of the Interior will be deeper and less difficult.

 

Anaïs Nin, Los Angeles, 1974

 

You may order Cities of the Interior by clicking here.

 

You may also order the individual novels from the collection below:

Ladders to Fire
Children of the Albatross
The Four-Chambered Heart
A Spy in the House of Love
Seduction of the Minotaur

ANAIS: An International Journal Lives On

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.

Cover-1983-Volume1When 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.

To see a preview and/or to order ANAIS: An International Journal, Vol. 1, click here.

Barbara Kraft’s reading from Anais Nin: The Last Days

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 and artwork. Photo: Paul Hughen

Barbara Kraft and artwork at Coagula Curatorial. Photo: Paul Hughen

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.

-Matt Hamilton

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.

Who wrote “Risk”? Is the mystery solved?

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.

BrochureI 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.

For a reliable source of Anais Nin quotes, get THE QUOTABLE ANAIS NIN: 365 Quotations with Citations.

Want to catch up with Anais Nin? THE PORTABLE ANAIS NIN contains nearly 300 pages of her best work.

Long-lost Anais Nin erotica discovered and published: AULETRIS: EROTICA.

The newest Nin diary is here! TRAPEZE: THE UNEXPURGATED DIARY OF ANAIS NIN, 1947-1955.

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