The first print addition of The Quotable Anais Nin: 365 Quotations with Citations is now available for purchase. Not only does this volume contain most of Nin’s iconic quotations, it also includes many which are either largely unknown or previously unpublished. And all of them are cited with book titles and page numbers, not to mention that some of the myths surrounding Nin’s quotes are dispelled.
Divided into sections (Lust for Life, Love and Sensuality, Consciousness, Women and Men, Writing and Art), all of the entries are sorted by book titles and page numbers, making it easy for readers to find the quotes they are looking for.
An example of a quotation is the following, found in the section Lust for Life is as follows: “I want to live only for ecstasy. Small doses, moderate loves, all half-shades, leave me cold. I like extravagance.” —Diary 1, pg. 174
Or this, found in the Consciousness section: “The secret of joy is the mastery of pain.” —Mirages, pg. 287
Rare photographs of Nin along with six engravings by her husband Hugh Guiler (aka Ian Hugo) decorate the pages, making this book a work of art as well.
It is the perfect way to possess the best of Anais Nin’s quotations and perhaps the perfect gift for the literarily inclined or those seeking inspiration and aha moments.
To preview or order the new PRINT VERSION, click here.
To order the EBOOK version, click here.
As you probably know, it is one of the missions of Sky Blue Press to keep Anais Nin’s flame alive, so please spread the word about this newest effort. Thank you.
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.
If Anais Nin was known for her diaries, she should also be known for her circle of friends, which included the electronic music pioneers Louis and Bebe Barron. The friendship ultimately turned into collaboration with Nin and Ian Hugo (Hugh Guiler, Nin’s husband) on his experimental film Bells of Atlantis (1952). The music and images work together to provide the audience with a full range of stimulation, both aural and visual, not to mention literary as Nin recites lines from her House of Incest (1936), upon which the film is based. Thanks to NPR, a retrospective of the Barrons and their impact on the music world can be seen here.
Bebe Barron died in April 2008; a video of her last interview can be seen here, conducted by Steven Reigns and Ian McKinnon.
When Hugh Guiler, Anaïs Nin’s banker husband, began his artistic career as an engraver, he chose to use the name Ian Hugo, supposedly so that his art would be separate from his career. In Guiler’s mind, there was a sense of intolerance between the financial and artistic worlds, and he did not want the two intertwined. Guiler’s engravings found their way into Nin’s hand-printed editions during the 1940s, perhaps most notably the Gemor edition of Under a Glass Bell (the promotional photo of which can be seen on the cover of A Café in Space, Vol. 2). By 1950, Guiler began experimenting with film and became a truly respected avant-garde filmmaker, using superimposition and other effects to reflect his vision on the screen.
At a May 27, 1977 lecture, he said after screening his Bells of Atlantis (based on water images presented in Nin’s first work of fiction, The House of Incest, and in which Nin appears and narrates): “Thank you for your kind response, which I am sure is also meant as a tribute to Anaïs Nin. I do think that this film does bring her closer to you—to her style as a poetic writer of the first order, and her presence as an extraordinarily sensitive, and warm human being. I can certainly testify personally to this through the almost 54 years that we were married, to the time of her death in January of this year.” (It should be pointed out that there was an audible gasp by the audience, since they only knew Ian Hugo as an artistic collaborator of Nin.) “And I will add that her physical beauty seemed to glow as if from some inner light which, as I now see more clearly, enabled her to explore, day by day, ‘the lost continent within ourselves’ (a phrase by the poet Marianne Moore in referring to Bells of Atlantis). And it is only now that I fully realize how much I owed to her presence and her encouragement all those years in trying to explore my own ‘lost continent’ which I first tried to reach out to in making this film.” The complete lecture will be published in next year’s A Café in Space.
The 9 minute film, finished in 1952, with a score from electronic music pioneers Louis and Bebe Barron, can be viewed (in less than pristine quality) by clicking here. (Courtesy of UbuWeb) There is also a filmography of Guiler’s work, thanks to Robert Haller.