There is big news for those worldwide who are eager to read the works of Anaïs Nin digitally. Amazon has recently opened markets in England, Germany, France, Italy, Spain, India, Japan, Brazil, and Canada, making it possible for anyone either with a Kindle or a Kindle app on their computer, phone, or tablet to download Nin titles instantly. Nin’s fiction and A Café in Space are available, as well as the diaries and erotica. To visit the Amazon sites in your country, click on the appropriate link below:
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Check out our Anais Nin e-bookstore for all digital titles
Visit Sky Blue Press’s bookstore for all print titles
How does one sort through hundreds of websites to find elusive Anais Nin titles? We’ve compiled a concise list to help you out.
To purchase a book that was once a part of Rupert Pole’s and Anais Nin’s personal collection at their Silver Lake house in Los Angeles, including rare and out of print titles, click here.
To find and purchase any title Swallow Press published (virtually all of Nin’s fiction and other titles as well), click here.
In the past year, several Nin titles have been made available as ebooks. To search the ever-growing list, click here.
To find the print versions of Nin’s (both original and unexpurgated) diaries, click here.
To locate Nin’s erotica, click here.
To examine or order print versions of A Cafe in Space, the only current Anais Nin literary journal, click here.
Sky Blue Press has the only print version of the original The Winter of Artifice, a facsimile of the Obelisk Press edition that was, according to Nin herself, banned in America. There are still copies of this limited printing left. To find out about the book, or to order, click here.
A complete list of all of Nin’s fictional characters is collected in Anais Nin Character Dictionary. To learn about this title, click here.
Are we missing anything? If so, leave a comment and we’ll attempt to answer all questions.
Since there are now several titles by Anais Nin available as e-books, primarily on Kindle, we thought it would be a good idea to give you a handy guide with links to each book. The sequence of the list and associated comments are presented with two groups of readers in mind: those already familiar with Anais Nin, and those whose experience with the author is just now dawning.
We will update this list when new titles, or more details, become available (last update: August 21, 2012).
We hope this list proves useful; feel free to comment.
The Portable Anais Nin (Sky Blue Press) The best place to start. A comprehensive anthology of Nin’s most important work, rendered in their entirety, and a record of her growth as a writer. An excellent read for both newcomers (who wish to sample Nin’s writing) and the experienced (who, with this title, can witness Nin’s relationships between life, her diary, her fiction, and her philosophy). $9.99. For more information on this title, click here. To order, click here.
NEW Anais Nin: The Last Days, a memoir by Barbara Kraft (Sky Blue Press) One of the persisting mysteries about Anais Nin is the circumstances of her death: she ended her published diaries a few years beforehand and left little information behind. Even the biographies are sketchy on this topic. Barbara Kraft, a student and friend of Nin, spent a good part of Nin’s final 2 years supporting her emotionally and has written a powerful memoir about the incredible spirit of her mentor and her refusal to surrender her life. She also records the great love and compassion of Nin’s “west coast husband,” Rupert Pole. $6.99. To order, click here.
NEW Anais Nin’s Lost World: Paris in Words and Pictures, 1924-1939 by Britt Arenander. This unique book depicts Nin’s life from the perspective of her surroundings during the most important era in her life—her Paris years, from 1924 to 1939, when she met Henry Miller and came into her own as a writer and as a sensual woman. This book gives us a vivid picture of Nin’s turbulent life in the 1920s and 1930s. Britt Arenander allows us to follow in Nin’s and Miller’s footsteps. She has brilliantly woven text and photographs into a tapestry of the Paris that Nin and Miller came to love so much. For more information, click here. To order, click here.
Delta of Venus (Houghton Mifflin Harcourt) Anais Nin’s bestselling collection of erotica, which set the standard by which all erotica is measured. While Nin claimed to write this with “tongue in cheek,” there is little doubt about its liteary and poetic value. Recommended to everyone. $9.29. To order, click here.
Little Birds (Houghton Mifflin Harcourt) The sequel to Delta of Venus that retains the high literary quality of feminine erotica. Recommended to everyone, especially those who have read Delta of Venus. $9.99. To order, click here.
Under a Glass Bell and Other Stories (Sky Blue Press) This collection of Anais Nin’s short stories contains some of her finest writing. Originally self-published, this book was the one that first put Nin on the literary map. Recommended for all, especially newcomers who wish to experience Nin’s concept of distilling life events into concise fiction. $4.99. For more information on this title, click here. To order, click here.
House of Incest (Sky Blue Press) Anais Nin’s first work of fiction, often compared to surrealism in the French style, which bends and expands the English language into the mystical realm. Major scholars today conclude that House of Incest is Nin’s best book. $3.99. To order, click here.
The Diary of Anais Nin, Vol. 2 (Houghton Mifflin Harcourt–Vol. 1 not yet available) This diary follows Nin’s life in Paris from 1934 until 1939, citing her associations with Henry Miller, Otto Rank, Gonzalo More, Antonin Artaud, and her experiences in Louveciennes, Paris, New York, and Fez. This book is recommended for new readers for its literary significance, and experienced readers because each name, place, date, etc., can be electronically searched. $14.82. To order, click here.
The Diary of Anais Nin, Vol. 3(Houghton Mifflin Harcourt) When war forced Anais Nin from France, she called it “the end of our romantic life,” but it was the beginning of a torturous transition to New York and its impersonal harshness. Out of her element, Nin struggled to resume her life as an artist, and because of indifference to her work, she purchased her own printing press and painstakingly published it herself. Vol. 3 follows Nin’s relationships with Gonzalo More, Henry Miller, Richard Wright, and Luise Rainer, and how they were influenced by a new time and setting. $14.27. To order, click here.
The Diary of Anais Nin, Vol. 4 (Houghton Mifflin Harcourt) This diary chronicles Nin’s life in New York from 1944 to 1947. Key passages include Gore Vidal, Edmund Wilson, Maya Deren, and an array of young homosexual men with whom she associated. Recommended to newcomers because of the reflection of the terrible time Nin had adjusting to American life and the total rejection of her work. An electronically searchable text makes it valuable to all. $9.99. To order, click here.
The Diary of Anais Nin, Vol. 5 (Houghton Mifflin Harcourt) Covering the years 1947 to 1955, this volume follows Nin’s life “on the trapeze,” alternating between New York and California. A truly tranformative time in Nin’s life as her California experiences brought her many new and fascinating personages, including Jean Varda, James Herlihy, Louis and Bebe Barron, Renate Druks, et al. Recommended to newcomers who wish to see how it was possible Nin could mask her double life, not only to her readers, but to her friends and loved ones. Searchable text is a plus for all readers. $12.57. To order, click here.
Fire: From “A Journal of Love”: The Unexpurgated Diary 1934-1937 (Houghton Mifflin Harcourt). Culled from Anais Nin’s unedited diary, this volume contains intimate details of Nin’s relationships with her husband Hugh Guiler, Henry Miller, Gonzalo More, and Otto Rank. Recommended for anyone interested in Nin’s growing sense of womanhood during her Paris years. $9.99. To order, click here.
The Winter of Artifice, the original Paris edition (Sky Blue Press) This title was out of print for 70 years because of censorship laws and Nin’s subsequent decision to cut an entire story (“Djuna,” the fictionalized Henry and June tale, which was originally edited by Miller himself), and to heavily edit the remaining two. This is recommended to all for its literary value, which had been lost to readers for decades. $4.99. For more information on this title, click here. To order, click here.
Ladders to Fire (Sky Blue Press) The first novel of the collection Nin would later entitle Cities of the Interior, Ladders to Fire introduces the reader to Nin’s key characters: Djuna, Lillian, Sabina, and Jay, all in part based on real people, including Nin, as she placed different aspects of herself within the composite female characters. A must-read for all readers, new and otherwise, because it lays the groundwork for the following titles. $4.99. For more information on this title, click here. To order, click here.
Children of the Albatross (Sky Blue Press) Nin’s second novel in the Cities of the Interior collection, divided into two parts, the first examining Nin’s relationship with the “transparent children” described in Diary 4, one of whom is based on Rupert Pole. The second part reveals the psychological truth behind Nin’s female characters’ relationships with Jay, fashioned after Henry Miller. We suggest reading all the Cities titles in order, for that is what Nin intended. $4.99. For more information on this title, click here. To order, click here.
The Four-Chambered Heart (Sky Blue Press) Third in the Cities collection, this novel uses the Seine and a houseboat as a symbolic stage on which three characters–Djuna, Rango, and Zora–are gripped in a life-and-death battle of jealousy, possessiveness, raging passion, and disillusion. Based on Nin’s relationship with Gonzalo More and his wife Helba. Recommended for its solid characters, incredible tension, and searing climax. $4.99. For more information on this title, click here. To order, click here.
A Spy in the House of Love (Sky Blue Press) One of Nin’s most popular titles, this novel, 4th in the Cities series, examines Sabina, the character based on both Nin and June Miller. A fractured being, Sabina sees each shard of her character reflected in her five lovers. Recommended to all because it best characterizes Nin’s life in the 1940s, which was one of desperation and despair. $4.99. For more information on this title, click here. To order, click here.
Seduction of the Minotaur (Sky Blue Press) The last in the Cities series, this novel concentrates on Lillian’s battle with the “minotaur,” a demonic force which has tormented her, only to find, after seeking relief from others in exotic places (in this case, a lush Mexico), that the demon lives within her. Recommended because of its authenticity, symbolism, and direct language. $4.99. For more information on this title, click here. To order, click here.
Collages (Sky Blue Press) Nin’s last work of fiction, written shortly before the release of her diaries, Collages is a collection of interwoven short stories that are based on experiences of Nin’s friends, such as Jean Varda and Renate Druks. It is perhaps Nin’s only book in which she is not the central character. Recommended for its fairy-tale atmosphere, and especially for its humor, a characteristic for which Nin was rarely credited. $4.99. For more information on this title, click here. To order, click here.
Stella (Sky Blue Press) A lesser-known work written by Anais Nin in 1945, is an examination of self-discovery and self-worth. The title character is loosely based on actress Luise Rainer, who is faced with the contrast between her love affair with a public that adores her for her film roles, and her personal inability to find human love. Critic Oliver Evans says Stella “remains one of [Nin’s] most thoroughly realized performances.” Recommended for anyone who does not own either The Portable Anais Nin or Swallow’s Winter of Artifice. For more information on this title, click here. To order, click here.
D. H. Lawrence: An Unprofessional Study (Sky Blue Press). Anais Nin’s first published book is an examination of her first literary muse, the controversial English novelist, D. H. Lawrence. Assembled from notes in only 13 days, this study is regarded by critics as the best introduction to Lawrence to this day. Recommended for anyone interested in Lawrence, or in Nin’s masterful critical insights. $3.99. For more information on this title, click here. To purchase this title, click here.
A Cafe in Space, Vol. 7 (Sky Blue Press) This issue contains a close look at Nin’s marriage with Hugh Guiler, including a shocking letter he wrote offering her divorce; an interview with Deirdre Bair; John Ferrone’s tale of how Nin almost never published her erotica; an unpublished excerpt from Nin’s 1940s diary, and examinations of Nin’s writing by well-known Nin scholars and newcomers alike. Recommended for anyone wishing to discover details of Nin’s life and work found nowhere else. $3.99. For more information on this title, click here. To order, click here.
A Cafe in Space, Vol. 6 (Sky Blue Press) The highlight of this issue is the publication of the recently found letters between Nin and her father, Joaquin Nin, at the time of their incestuous relationship. The letters reveal a crafty and relentless pursuit of the 30 year old Anais by her father. The journal is filled with articles about Nin and Henry Miller, as well as examinations of Nin’s writing by well-known Nin scholars and newcomers alike. Recommended for anyone wishing to discover details of Nin’s life and work found nowhere else. $3.99. For more information on this title, click here. To order, click here.
A Cafe in Space, Vol. 1: special centennial issue (Sky Blue Press) The inaugural issue, which contains a previously unpublished excerpt from Nin’s 1940s diary, has contributions by Janet Fitch, Philip Jason, Benjamin Franklin V, Lynette Felber, Kazuko Sugisaki, Toyoko Yamamoto, Yuko Yaguchi, among others. Included is a journey to Louveciennes and Neuilly to visit Nin’s homes (with photos) and a tour of Montparnasse with Claudine Brelet, close friend of Lawrence Durrell. Recommended for all. $3.99. For more information on this title, click here. To order, click here.
A Cafe in Space, Vol. 2This issue contains a substantial excerpt from Nin’s 1943 diary which illustrates her relationship with several Haitians in New York, and one in particular, Albert Mangones, represented the sort of atmosphere and culture Nin sorely missed. The results were torrid and, in the end, heartbreaking. Articles by several noted Nin scholars and an excerpt from Maria Chekhov’s memoirs are included, as well as a tour of Henry Miller’s Paris hotels. Recommended for all. For information on the title, click here. To order, click here.
A Cafe in Space, Vol. 3 contains early correspondence (1957-61) between Anais Nin and the man who was instrumental in her ulitmate literary success, her agent Gunther Stuhlmann. The letters give the readers a look at the long, hard climb, the many failures, and the degree of frustration Nin endured on the way up. Also included are contributions from three of the leading Lawrence Durrell scholars in the world about the “3rd Musketeer” and how his literature is regarded today. Recommended for both Nin and Durrell fans. For information on the title, click here. To order, click here.
A Cafe in Space, Vol. 4. The highlight of this issue is two important series of correspondence: the first is between Rupert Pole and editor John Ferrone, which reveals the intense wrangling that was involved during the editing of Anais Nin’s first unexpurgated diary, Henry and June; the second involves Nin, agent Gunther Stuhlmann, and publisher Alan Swallow in a dramatic look at Nin’s rise to fame, culminating in the release of her Diary. Recommended for those interested in what lies behind some of Nin’s most important works. For information on the title, click here. To order, click here.
A Cafe in Space, Vol. 5. This special issue, entitled “In Her Own Words,” focuses on a wide range of Anais Nin’s writing, much of it experimental and unpublished. Examples of her critical writing, fiction treatments, and a long lost interview from 1969 are included, as well as her correspondence with Rupert Pole during her trips to New York, where she was living with Hugh Guiler. To purchase, click here.
A Cafe in Space, Vol. 8. This issue’s centerpiece is correspondence between Anais Nin and her husband Hugh Guiler during the final months she was alive. Dying in Los Angeles with her lover Rupert Pole at her side, she sought “absolution” from Guiler and emotional freedom. Even more remarkable is the early correspondence between Pole and Guiler just after Nin’s death. Also included is a look at Nin’s “father-in-law,” Reginald Pole, the Shakespearean actor and Rupert’s father. For more information on this title, click here. To purchase, click here.
A Cafe in Space, Vol. 9 contains several excerpts from Anais Nin’s unpublished 1950s diary in which she describes the “trapeze life” swinging back and forth across the country from her husband in New York to her lover in Los Angeles, and how difficult it was to keep her men in the dark about each other. Critical articles on Nin’s writing and how her persona was carefully crafted, on two of her contemporaries, Lawrence Durrell and Antonin Artaud, as well as creative pieces by two of Nin’s former students, along with reviews of two important publications on Henry Miller and by Anais Nin, complete this issue. For more information, click here. To order, click here.
NOTE: We do NOT recommend the title White Stains because it apparently contains no work from Anais Nin, despite her name being placed on the title page.
Recently, we have described how Anaïs Nin has inspired other artists: there have been numerous paintings, sculptures, films, plays, and other forms of artistic expression that are rooted in Nin’s life and work. Now we can add an entire album of music to the list. Pam Shaffer, a Los Angeles based singer-songwriter, has just released her first full length album based on Nin’s Paris diaries, entitled As We Are (culled from the famous Nin quote, “We don’t see things as they are, we see them as we are”) which includes the songs “Henry,” “Gonzalo,” “Hugh,” “June,” “Nanakepichu,” among others. Upon listening to the album, I immediately felt that Shaffer captured Nin’s aura and has allowed it to inform her songs.
I asked Shaffer to comment on her album; her thoughts follow:
I have played the piano for just about as long as I can recall and wrote my very first song about a baby falling out of a tree (rather derivative in retrospect and an odd commentary on children’s songs). Music was always my favorite mode of expression but I also painted a fair amount as a child and enjoyed writing poetry as an adolescent. For the majority of my time as a teenager I was terrified to sing in public. On occasion, I would play a Tori Amos cover or one of my own songs for friends. Unbeknownst to me, people at my high school actually listened, which came as a great surprise to me when years later, I ran into classmates who asked if I was still playing. I began performing in earnest in college.
There’s a line in a Jewel song that says, “You can be Henry Miller and I’ll be Anaïs Nin/This time it will be even better we’ll stay together in the end.” I remember hearing that line and wondering who those people were. Though my interest was piqued, it took me a few years to actually buy and read Henry and June. By the time I was 18, I had read it through several times and had moved onto her other diaries along with some of her essays. Reading her words was much like seeing my own thoughts committed to paper though they were ideas I had never dared to have before. I read her work consistently through college and wrote my independent honors thesis about how her life and art merged in an ideal state in the 1930s.
Anaïs’s life and work has affected me in a myriad of ways. Artistically, she has shown me that I must persevere and work within my own style whether it is popular or not. She writes in such a particular voice and does not stray from her own intuitive expression. She was not “successful” as a writer for much of her life, but she kept writing regardless. Her style is beautiful and accessible to me, but it might not be to others. She made her life into her art, which inspires me greatly. Though I do not always agree with the choices she made in her life, it is illuminating to read about her successes and failures as she attempted to live her life to its fullest degree. Her work reminds me not to settle for half-measures and to pursue my passions with all my energy. Clearly, her writing greatly influenced my own as I love the fluidity of her prose and the way she lets her stories unfold. I strive to write songs that operate the same way, utilizing the unconscious material and blending it with the conscious content.
A few years ago, the song “Henry” simply popped into my head. I wasn’t setting out to write a song about Anaïs and Henry, but there it was. It stood out quite a bit from the rest of my material, which was mostly drawn from my own life. I started to think that perhaps Henry was “lonely” and that I should write about June. Having written a thesis on Anaïs’s diaries, the source material was fresh in mind. Over the course of two years, I wrote all of the songs for the album. At the time, I was also writing songs about myself and other topics, but the Anaïs songs tended to have a distinct feel to them, a cohesive character that set them apart from my other work. I had an inkling that they were meant to be a concept album, and by the time I was mixing my previous EP, I was talking with my producer about recording the Anaïs songs together as an album. We began recording demos based on my sketches from my laptop recordings in early 2009, and that was the genesis of the album. My source materials span her dairies and unexpurgated works from 1930-1938, though I have also read House of Incest along with Cities of the Interior, so you never know what might have snuck in there.
In a way, her most famous quote was a perfect album title, because each of the songs is a different character. The songs are coming to the listener as “they” are, and each listener will take something different from them, thus fulfilling the concept of the quote. I think that quote is universal and insightful but was far too long for an album title. “As We Are” can be interpreted in many ways, but I hope it accurately depicts the nature of the album.
I recall telling my friend Karin Tatoyan about my idea for an Anaïs Nin concept album while sitting outside the Echo Curio on the curb of Sunset Blvd in Echo Park. She herself is an astonishingly talented musician, and she looked at me with wide eyes and said my idea was brilliant. I laughed and recounted how hard it was to find a thesis advisor because none of my professors were versed in the works of Anaïs Nin and that I couldn’t have possibly found a more obscure topic about which to write. She told me that very few people would have a clue what I was doing, but those who did would be thrilled, and those who did not would at the very least be intrigued by such a mysterious subject. Writing an album about Anaïs Nin matches the general theme of my life, which continuously reveals that I am quite good at accomplishing unusual, eccentric tasks but mediocre at best when it comes to easy and practical ones. I was always the kid who could do a one-handed cartwheel but might stub my toe while walking in my own room. I could solve an algebraic equation in my head but I might not count our change correctly. I am aware that I likely should have written or released a more general album first, one that was perhaps more easily relatable and accessible to draw people in before I delved into the unknown. However, I’ve never done things the easy way, and at least now my listeners will be those who will hopefully follow me down dark paths as well as well-lit ones.
To hear songs from, or to purchase the album, click here.
Fact: Beginning in 1914, when Anaïs Nin and her family departed Spain for New York, after having lived temporarily with her estranged father’s parents, she began recording daily events in a notebook given to her by her mother. Nin would later famously say that her intention was to write her father an extended “letter” that she hoped would entice him back.
The diary became the centerpiece of the young Anaïs’s life, and she continued the practice of recording her innermost thoughts and impressions in bound notebooks for a good portion of her adult life. Of course, the diaries she kept during her tumultuous years in Paris with Henry Miller became the basis for her fame as a writer when they were finally released in the mid-1960s. What most did not know then was that Nin had given up the daily practice of diary writing some twenty years previous.
After war forced Nin, her husband Hugh Guiler, and many of her circle, including Miller and Gonzalo Moré, to New York around 1940, she became desperately depressed for years, yearning for the “ideal” lover, success in her art of writing, and eventually descended into a downward spiral of failed love affairs and failed books. She began to express a desire to be free from the diary.
On September 25, 1943, she recorded in her unpublished diary: “I wish I could write the END to the Diary and turn to the outside story,” meaning that she felt her creativity was being sucked dry, which was a theme that had been pounded into her head by the likes of Miller, psychoanalyst Otto Rank, and Gore Vidal.
On September 25, 1943, she wrote: “What a potent awakener the Diary is. As I get ready to leave it, I pay it a slight tribute. This should be the last volume [it turned out she would write one more]. At forty I enter a new maturity, stripped of my mirages, dreams and miracles, of my delusions and illusions and my heavy romantic sorrows. What awaits me is the expression of this strength, in action. I am about to lay down my magician’s wand, my healer’s paraphernalia…and to confront the act, in writing as well as in living. Without the diary…the tortoise shell, houseboat and escargot cover. No red velvet panoply over my head, no red carpet under my feet, no Japanese umbrellas growing on the hair, no stage settings, tricks, enchantments…”
On March 13, 1946, she wrote: “This Diary will end when I find the [ideal] lover.”
On April 1, 1946: “I may perhaps attain freedom from the diary itself, from watching myself live, from having to make stories to make it more marvelous. Freedom from my idealized self, the idealization of others.”
Indeed, by the time Nin made her cross-country trip with her “ideal” lover, Rupert Pole, in 1947, she had abandoned the idea of bound diaries altogether, opting to write occasional descriptions of events on loose paper and keep them in folders along with correspondence and articles. After she became famous in the 1960s and into the early 1970s, her diary became what she called the “diary of others,” since she had no time to write new material. She essentially stopped writing in the 1970s, including fiction.
However, as death approached and she came to grips with it, she kept two hardbound diaries in which she handwrote her thoughts on life and death. One volume was the “Book of Music,” the other the “Book of Pain,” presenting both sides of her final years—the joy of living and the struggle with the cancer that would kill her.