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.
When 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.
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.
The idea of The Portable Anaïs Nin came from Gunther Stuhlmann, who was Nin’s literary agent and co-editor of her Diary of Anaïs Nin. At the time, which was in the mid-1990s, he felt that too much attention was being given by biographers and critics to the sordid side of her love life, and not enough to her work. Complicating all of this was the release of her unexpurgated diary Incest, which covered not only adult-onset incest with her father, but also the fact that she’d had a long, horrifying abortion of a late-term child, both of which she wrote about graphically. This combination of biographies and unexpurgated diaries naturally turned attention to the “verboten” aspects of Nin’s life rather than her literary achievements.
Stuhlmann proposed an anthology that would “introduce a new generation of readers to the writer Anaïs Nin rather than to the ‘personality’ which has been distorted and denigrated in recent years… I visualize a handy volume which creates an overall view of the many facets of Nin’s work and ideas by drawing on her actual writing.” In short, he wished to return the attention to the art, and through the art, the artist.
In my opinion, one of the biggest problems of Nin publication is the way they were presented originally. Nin not only had the need to write about her life, even early in her career, she longed to share the diaries with her readers. For obvious reasons (the fact that the nature of her life meant multiple deceptions and lies to her significant partners), she could not possibly have published the diaries as they were. Her first attempt to express what she’d written in secret was through her fiction, which was mainly a veiled version of her life and its principle personages. This she found unsatisfactory, and the critics agreed. While there is plenty of psychological truth in the fiction (which in itself makes it valuable), it was still smoke and mirrors, illusion, and vague.
Nin struggled for years to find a way to publish her diaries, and it was only late in life that she came up with the only possible solution: to offer extremely expurgated versions of them, versions that would not hurt those still living. Her husband, Hugh Guiler, asked to not be mentioned, which added another complication, because she could only recount her life without mention of the husband who financially and emotionally supported her (this omission was ammunition for attack by feminists, who were attracted to her in the first place because the diaries made it appear she’d live an independent life). So, seven volumes of heavily edited diaries appeared on the market, and it was left to readers to “read between the lines” to figure out that Henry Miller and her own father were among her many lovers. When the unexpurgated diaries came out posthumously (beginning with Henry and June in 1986), several of Nin’s friends, fans, and associates felt betrayed. The revelations are many, and some of them are stunning. I remember being invited to a get-together of some women who’d thought they knew Anaïs Nin until the unexpurgated diaries came out. Some of them refused to believe that their Anaïs was capable of such atrocities, especially incest. One of them said, “I think Gunther Stuhlmann and Rupert Pole concocted those passages themselves just to make money.” No one seemed to disagree.
This fractured approach to Nin publications eventually led to the point where the world seemed to turn against what was once the champion of self-discovery, the lover of life, the one who refused to despair, the one whom an entire generation admired for daring to seek and tell the truth. Reviewers of the biographies and the unexpurgated diaries didn’t bother to review the books—instead, they laid judgment on the author’s life. Lost in all of this was the work.
Gunther Stuhlmann’s proposal for The Portable Anaïs Nin was rejected by certain publishers who by that time had formed some harsh opinions about Nin, and it was placed in a folder and filed away in a drawer. After Stuhlmann’s untimely death in 2002, his wife, Barbara, discovered the proposal while sorting through the massive amount of documents he’d left behind. She sent it to me. There were only a couple yellowed pages in the folder, but the idea was as fresh and as important as it had ever been. I contacted Benjamin Franklin V, who is the world’s foremost Nin scholar and bibliographer, and he was overjoyed with the idea of a new anthology. After months of painstaking work of selecting, introducing, and annotating selections from the entire spectrum of Nin’s writing, Stuhlmann’s vision was realized. The Portable Anaïs Nin was first released as an ebook, and now it is finally available in print.
It is, as Stuhlmann envisioned, “an open invitation to an engaging literary adventure trip, which could, and should, gain an entirely new audience for Anaïs Nin’s work.”
To order a print copy of The Portable Anais Nin, click here.
To order a digital version of The Portable Anais Nin, click here.
To see our complete list of available Anais Nin ebooks, click here.
To order books from Anais Nin’s and Rupert Pole’s Silver Lake Collection, click here.
In the sun and warmth of summer, yesterday we went with Albert to Jacques Lipchitz’s studio with his statue of a drummer, to hear a criticism. I heard Albert talk luminously, responding to the cosmic vision of Lipchitz. His intelligence not like ours, monstrously over-developed like a morbid growth, not reaching the point of dissolution, dissection, separation, but fused, integrated, direct, pure. If Albert were older, not the shy young son…if he dared. But now I am faced by a new difficulty: I am the intimidating one, the one one does not dare to reach for!
My impulse is to run to him and kiss him. And [psychoanalyst Martha] Jaeger stands guard, the mythological mother, saying: “Do not run towards pain, do not run into pain, do not destroy yourself again, do not follow the mirages of love! He is the Son—he is too young—he is too yielding. Wait for the man…”
Neither Jaeger’s warning nor obstacles such as the fact that Mangones not only had a girlfriend in New York, but a fiancée in Haiti, inhibited Nin in her pursuit, which resulted in a fiery sexual union and, of course, subsequent suffering. Nin’s account includes not only descriptions of Mangones, but also of the Premice family, one of whom, Josephine, would go on to because a singing sensation. Mangones, after returning to Haiti, established himself as a master architect and sculptor. His Neg Mawon (Unknown Slave), sculpted in 1968, became the symbol of Haiti, prominently placed before the Presidential Palace. Today it still stands, above the ravages of the earthquake. (To see a biography and film excerpt on Mangones–in French–click here. To see a short memoir on Mangones–in English–click here.)
Other articles in Volume 2 include an excerpt from a new translation of Anton Chekhov’s sister, Maria, which gives us a glimpse into his chaotic world; snippets from Tristine Rainer’s diary regarding Nin’s final illness; a study of Nin and Henry Miller by Karl Orend; and a collection of articles by French authors, including Nin translator Béatrice Commengé, who takes us on a journey through Paris to revisit the hotels Henry Miller inhabited.
To order the Kindle edition of Vol. 2, click here.
To see the table of contents and/or order a print version of Vol. 2, click here.
To see all available digital titlesby Anaïs Nin, visit our Nin e-bookstore.
To order books from the Nin house in Silver Lake (Los Angeles), visit the Anaïs Nin Trust bookstore.
The inaugural issue of A Café in Space: The Anaïs Nin Literary Journal, which celebrated Nin’s 100th birthday, is now available on Kindle. This is the story of how it came to be.
After Gunther Stuhlmann, who edited the amazing 19 annual issues of ANAIS: An International Journal, died in 2002, there was suddenly a severe vacuum in Nin studies. Stuhlmann had planned a special centennial issue of ANAIS for 2003, and even began gathering material for it when he became seriously ill and had to abandon the project. After encouragement from several Nin and Miller scholars, this editor decided to create a new Nin journal that would pick up where ANAIS left off. Because Nin described Richard Centing’s and Benjamin Franklin V’s Under the Sign of Pisces as “a café in space” in which the literary community could gather, we were inspired to so name the new journal.
In February of 2003, I traveled to France with the intention of visiting famous Nin sites, especially her birthplace in Neuilly-sur-Seine and the house in Louveciennes, which Henry Miller called “the laboratory of the soul.” I was fortunate enough to find the Neuilly house newly refurbished, probably looking much as it did when Nin was born there. But the most amazing stroke of luck was being invited to the Nin house in Louveciennes by its new owner, actor Jean-Hugues Anglade, with a group of distinguished guests, one of them a famous actress from the Comédie-Française. After having spent more than a decade wishing for the chance to enter this fabled house, after watching it
decay to the point where it was being considered for demolition, to be inside the house on Nin’s 100th birthday, toasting her with a group of people Nin would have admired, was nothing short of miraculous. Of course, I took dozens of photos and recorded each moment of the day, and wrote it up for A Café in Space. (Click here to see a previous post on the Louveciennes visit.) On top of this, I met Claudine Brelet, who was a close friend of Lawrence Durrell, and she took us on a nostalgic tour of Montparnasse. She agreed to write an article about the special places that Durrell and Miller frequented, through which readers can experience the tour themselves.
I was able to contact some of the contributors to the never-to-be-finished issue of ANAIS, including veteran scholars such as Franklin, Lynette Felber, Phil Jason, and others, all of whom agreed to partake in the first issue of A Café in Space. Furthermore, after attending a centennial Nin conference in California early in 2003, and after hearing talks given by author Janet Fitch and Kazuko Sugisaki, Nin’s Japanese translator, I was able to collect article versions of the talks for the new journal. Fitch’s talk, titled “No Women Writers,” describes how she discovered Nin after her a junior high school substitute teacher declared that there were no important women writers. “He challenged the class to think of a single one… And then a girl in the front row raised her hand, I can still see her, her frizzy ash-blonde hair, her plump arm, waving, and she asked, What about Anaïs Nin? …And I ripped off a note which I passed up the row… WHO IS ANAÏS NIN?” The girl “corrected the spelling and sent it back, saying, ‘Read the Diaries, they’re incredible!’” The rest is history, and Fitch says that Nin’s influence is present in her famous novel White Oleander.
After the conference, we took a drive up to Oakland, CA to visit with Nin’s last surviving family member, her brother Joaquín Nin-Culmell, who, although he’d suffered a stroke shortly beforehand, was incredibly lucid, welcoming, and enthusiastic. He took us on a journey back to his childhood, explaining how cruel and selfish his father was, how Anaïs was protective of her brothers, how the family was instructed by the mother to speak only French in the household in order to keep alive their native language after coming to America. He showed us photographs and artifacts from the past, but the sight of his piano sitting silent in his living room was haunting—since his stroke, he neither played nor listened to music again. Less than a year later, he was gone. How fortunate it was to catch him on that day, a clear, warm, sunny day, the aura of which shined through Joaquín’s face. Not having originally planned to, I ended up writing up the occasion (“An Afternoon With Joaquín Nin-Culmell”) for A Café in Space.
But what about Anaïs Nin herself? What would she contribute to A Café in Space? Serendipity once again played a role in this: I was given a portion of Nin’s unpublished 1940s diaries, and in it I found passages that epitomized Nin’s first years in America after fleeing war in Europe. Disillusioned and disconnected to anything vital, she was drowning in depression and despair when she met a young and somewhat naïve young man from Iowa, who’d arrived in New York to seek artistic freedom. His youthful zeal and exuberance were exactly what Nin was lacking in her life, and thus began a torrid affair. The entire experience Nin summed up in one word: “Mirage,” a word which could be applied to her entire existence in New York.
After reading about Nin’s affair with the young John Dudley, I couldn’t help but wonder if a photo of him didn’t exist somewhere. Nin’s descriptions were vivid, but one likes to have a real image with which to compare them. Only weeks before the publication of Vol. 1, I was in Massachusetts gathering up boxes of back issues of ANAIS: An International Journal, which I’d volunteered to distribute. I opened a desk drawer (with permission) and discovered a pile of photographs that had, I imagined, been set aside for future issues of ANAIS. Among them was a young blond man standing, smiling, in front of what looked like a plantation house. Was the house Hampton Manor, where the affair occurred? Was the young, vivacious man John Dudley? I collected this and several other photos, and after some research, I discovered that yes, these were indeed of Dudley. I had barely enough time to submit them before publication.
Looking back on all this, I can say that nearly everything in the first issue of A Café in Space was the result of bonne chance.
To see further information and/or to order a print version of Vol. 1, click here.
A Café in Space, Vol. 1, 2003, the Kindle version, can be ordered here.
Volume 7 (2010) of A Café in Space: The Anaïs Nin Literary Journal (the only current Nin journal anywhere) has just been made available on Kindle. In this issue are some amazing articles and excerpts from Nin’s unpublished diary, not to mention an interview with Nin biographer Deirdre Bair and John Ferrone’s account of the birth of Delta of Venus. Eventually, we hope to have Vols. 1 through 6 published as e-books as well.
Our aim is to make the journal easy to obtain no matter where one is, and to make the price one that is easy on the pocketbook ($3.99). There’s nothing like the print version in one’s hands, but the quality, photographs, and extra bells and whistles, such as an interactive table of contents, are all there in the e-book. We hope you will support our efforts!
To visit the Amazon.com location for A Café in Space, Vol. 7, click here.
To see a description of the contents of Vol. 7, click here.
Our other Nin titles on Kindle are: The Portable Anais Nin, House of Incest, Collages, The Winter of Artifice, Under a Glass Bell, Ladders to Fire, Children of the Albatross, A Spy in the House of Love, and Seduction of the Minotaur, and The Four-Chambered Heart, with more to follow.