Anaïs Nin Podcast #35: Preserving a Gemor Press Site in Greenwich Village

One of Anaïs Nin’s most famous actions during the 1940s was printing her own books under the imprint of Gemor Press, which was named after her printing partner and long-time lover, Gonazalo More. When no commercial New York publisher would touch Nin’s esoteric works, her husband, Hugh Guiler, gave her $100 toward the purchase of an old hand-operated press. At first the press was housed at 144 MacDougal St. in Greenwich Village, and then, in 1944, was relocated at 17 E. 13th St. Sadly, the MacDougal St. location was razed many years ago, and while the 13th St. building still stands, it is in danger of being destroyed in the name of urban development. Fortunately, there is an organization—the Greenwich Village Society for Historic Preservation (GVSHP)—which is advocating designating it a historic landmark.

17 E. 13th St., former site of Gemor Press

In this podcast, I interview the executive director of the GVSHP, Andrew Berman, about the group’s efforts and discover what we, average citizens, can do to help preserve this important literary site.

Run time: 23:08

To listen to the podcast with iTunes, click here.

To listen without iTunes, click here.

To see GVSHP’s blog post on the former Gemor site, click here.

Anaïs Nin’s The Winter of Artifice is on Kindle

The long odyssey of The Winter of Artifice has taken a new turn, seventy years after its publication in Paris—it is now available as a digital e-book on Kindle 

A brief history of The Winter of Artifice: After years of incubation, Anaïs Nin fictionalized three major events in her life: 1) her affair with Henry Miller and the subsequent infatuation with his wife, June; 2) the reunion with her father after a twenty year absence, which resulted in a series of incestuous encounters; 3) the analysis (and affairs) she experienced with pyschoanalytical pioneers René Allendy and Otto Rank. These events resulted in the following novellas, respectively: “Djuna,” “Lilith,” and “The Voice.”

Only weeks after Anaïs Nin held a copy of her new book in her hands, two events occurred that were to redirect its future—war broke out, and the editor of Obelisk Press, Jack Kahane, died. Because of the war, Nin fled Paris for New York with a few copies of her book, and once in America, she realized that The Winter of Artifice would never survive the censors because of its explicit nature, especially that of “Djuna.” A few copies of Paris edition ended up in the hands of Nin’s friends and associates, but it was largely absent from the market in Europe and impossible to distribute in America or England.

 Anaïs Nin, Paris, late 1930s

Anaïs Nin, Paris, late 1930s

These novellas comprised Nin’s second work of fiction, The Winter of Artifice, which was published by Obelisk Press in the summer of 1939 as part of the Villa Seurat Series—Miller’s Max and the White Phagocytes and Lawrence Durrell’s The Black Book made up the other titles. The series name came from the three authors’ unofficial headquarters, Miller’s apartment on Villa Seurat in Montparnasse.

 Nin set about altering the contents of The Winter of Artifice for an American audience. She completely eliminated “Djuna” and cut out or drastically altered several passages in the remaining two stories. Her gutted prototype, made from an Obelisk Press copy, still exists. When Nin could not interest any American publishers in the book, she decided to publish it herself, buying an old printing press and setting up shop with her collaborator and lover, Gonzalo Moré. In 1942, the handset Winter of Artifice was finished, under the imprint Gemore Press, containing the two novellas, one untitled (formerly “Lilith”) and “The Voice.”

The book underwent further incarnations: In 1947, the untitled novella was revised and titled “Winter of Artifice,” and, along with the revised “The Voice,” was included in the 1947 English edition of Under a Glass Bell (Editions Poetry London). In the 1948 Dutton edition of Under a Glass Bell, the two revised novellas were included, but “Winter of Artifice” was renamed “Djuna,” not to be confused with the “Djuna” of the original edition. In 1961, Swallow published Winter of Artifice, which included facsimiles of the text the now-renamed “Winter of Artifice, “The Voice,” and Stella, taken from the 1946 book Ladders to Fire, “Stella.” The current Swallow edition is much the same.

The original “Djuna” ended up being heavily revised and incorporated into Ladders to Fire, with very little remaining of its erotic spirit. Later in life, Nin claimed that “Djuna” contained “bad writing,” but there is good evidence that she wanted to avoid public scrutiny of her affair with Miller, not to mention her changed attitude towards him after their break-up in the early 1940s. Miller, after all, was instrumental in the development of the prose contained in the story—for a detailed look at this, click here. His heavy influence in her writing was something she didn’t want publicized.

Many scholars are unaware of the original edition of The Winter of Artifice and the explicit representation of the Henry-June-Anaïs triangle in “Djuna.” Benjamin Franklin V, an important Nin scholar, recognized this gap in Nin scholarship and was the momentum behind a facsimile of the Paris edition of The Winter of Artifice being released in 2007. With this edition, Nin readers can finally experience Nin’s early foray into realistic prose—a turnaround from the heavily veiled The House of Incest (1936)—which was lost by circumstances and life-forces beyond anyone’s control. And now, with the new Kindle edition, Nin’s writing has finally entered the world of digital text, with other titles to follow.