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Partly of Spanish origin, Anaïs Nin was also of Cuban, French and Danish descent. She was born in Paris and spent her childhood in various parts of Europe. Her father left the family for another woman, which shocked Anaïs profoundly and was the reason for her mother to take her and her two brothers to live in the United States. Later Anaïs Nin moved to Paris with her husband, and they lived in France from 1924 to 1939, when Americans left on account of the war. She was analysed in the 1930s by René Allendy and subsequently by Otto Rank, with whom she also studied briefly in the summer of 1934. She became acquainted with many well-known writers and artists, and wrote a series of novels and stories.
During her later years Anaïs Nin lectured frequently at universities throughout the USA. In 1973 she received an honorary doctorate from Philadelphia College of Art and in 1974 was elected to the National Institute of Arts and Letters. She died in Los Angeles in 1977.
ANAIS NIN - The famous diarist wrote the stories in DELTA OF VENUS, and other collections, specifically to order for a discerning rich collector of erotica and they have since become delicate classics, combining the sheer delicacy of female sexuality and a strong sense of place and nostalgia. A wonderful example of how erotica is ideally suited for the subtlety of the fictional female voice.
'What did she expect of him? What was her quest? Did she have an unfulfilled desire?' Transgressive desires and sexual encounters are recounted in these four pieces from one of the greatest writers of erotic fiction. Penguin Modern: fifty new books celebrating the pioneering spirit of the iconic Penguin Modern Classics series, with each one offering a concentrated hit of its contemporary, international flavour. Here are authors ranging from Kathy Acker to James Baldwin, Truman Capote to Stanislaw Lem and George Orwell to Shirley Jackson; essays radical and inspiring; poems moving and disturbing; stories surreal and fabulous; taking us from the deep South to modern Japan, New York's underground scene to the farthest reaches of outer space.
Written when Anais Nin was in her twenties and living in France, the stories collected in Waste of Timelessness contain many elements familiar to those who know her later work as well as revelatory, early clues to themes developed in those more mature stories and novels. Seeded with details remembered from childhood and from life in Paris, the wistful tales portray artists, writers, strangers who meet in the night, and above all, women and their desires. These experimental and deeply introspective missives lay out a central theme of Nin's writing: the contrast between the public and private self. The stories are taut with unrealized sexual tension and articulate the ways that language and art can shape reality. Nin's deft humor, ironic wit, and ecstatic prose display not only superb craftsmanship but also the author's own constant balancing act between feeling and rationality, vulnerability and strength. Perhaps more than any other writer of the twentieth century, she mastered that act and wrote about it on her own terms, defying the literary and social norms of the time.
Anais Nin made her reputation through publication of her edited diaries and the carefully constructed persona they presented. It was not until decades later, when the diaries were published in their unexpurgated form, that the world began to learn the full details of Nin's fascinating life and the emotional and literary high-wire acts she committed both in documenting it and in defying the mores of 1950s America. Trapeze begins where the previous volume, Mirages, left off: when Nin met Rupert Pole, the young man who became not only her lover but later her husband in a bigamous marriage. It marks the start of what Nin came to call her trapeze life, swinging between her longtime husband, Hugh Guiler, in New York and her lover, Pole, in California, a perilous lifestyle she continued until her death in 1977. Today what Nin did seems impossible, and what she sought perhaps was impossible: to find harmony and completeness within a split existence. It is a story of daring and genius, love and pain, largely unknown until now.
Die Malerin Renate ist eine Abenteurerin, eine Menschenfangerin, eine Wandererin, die es fruh aus dem heimatlichen Wien - und aus der uberintimen Beziehung mit dem eifersuchtigen Vater - in die weitere Welt treibt: nach Mexiko, nach Kalifornien ... Die skurrilen, oft narzitischen, fast immer kunstlerisch begabten Leute, denen sie begegnet, mit denen sie in vielfaltige Tauschverhaltnisse eintritt, erinnern sie an die Wiener Parkskulpturen ihrer Jugend - so da aus den manchmal grotesken, manchmal diabolischen Episoden des Romans allmahlich ein Garten voller Statuen wird.
Swallow Press first published Winter of Artifice in 1945, following two vastly different versions from other presses. The book opens with a film star, Stella, studying her own, but alien, image on the screen. It ends in the Manhattan office of a psychoanalyst-the Voice-who, as he counsels patients suffering from the maladies of modern life, reveals himself as equally susceptible to them. The middle, title story explores one of Nin's most controversial themes, that of a woman's sexual relationship with her father. Elliptical, fragmented prose; unconventional structure; surrealistic psychic landscapes-Nin forged these elements into a style that engaged with the artistic concerns of her time but still registers as strikingly contemporary. This reissue, accompanied by a new introduction by Laura Frost and the original engravings by Nin's husband Ian Hugo, presents an important opportunity to consider anew the work of an author who laid the groundwork for later writers. Swallow Press's Winter of Artifice represents a literary artist coming into her own, with the formal experimentation, thematic daring, and psychological intrigue that became her hallmarks.
In Nizza, Paris und in den phantastischen Nischen der "e;Groen Welt"e; spielend, trugerisch nach Bluten und Hoffnungen duftend, sind Anais Nins fruhe Erzahlungen delikate, von origineller Beobachtungskraft und melancholischem Witz zeugende Versuche uber die fatale Neigung von Mannern und Frauen, dem anderen eben jene Zuge auszutreiben, die ursprunglich die Anziehung bewirkten.
Mirages opens at the dawn of World War II, when Anais Nin fled Paris, where she lived for fifteen years with her husband, banker Hugh Guiler, and ends in 1947 when she meets the man who would be the One, the lover who would satisfy her insatiable hunger for connection. In the middle looms a period Nin describes as hell, during which she experiences a kind of erotic madness, a delirium that fuels her search for love. As a child suffering abandonment by her father, Anais wrote, Close your eyes to the ugly things, and, against a horrifying backdrop of war and death, Nin combats the world's darkness with her own search for light. Mirages collects, for the first time, the story that was cut from all of Nin's other published diaries, particularly volumes 3 and 4 of The Diary of Anais Nin, which cover the same time period. It is the long-awaited successor to the previous unexpurgated diaries Henry and June, Incest, Fire, and Nearer the Moon. Mirages answers the questions Nin readers have been asking for decades: What led to the demise of Nin's love affair with Henry Miller? Just how troubled was her marriage to Hugh Guiler? What is the story behind Nin's children, the effeminate young men she seemed to collect at will? Mirages is a deeply personal story of heartbreak, despair, desperation, carnage, and deep mourning, but it is also one of courage, persistence, evolution, and redemption that reaches beyond the personal to the universal.
The final volume ends as the author wished; not with her last two years of pain but at a joyous, reflective moment on a trip to Bali. "e;One of the most remarkable diaries in the history of letters"e; (Robert Kirsch, Los Angeles Times). Edited and with a Preface by Gunther Stuhlmann; Index; photographs.
Anais Nin's Ladders to Fire interweaves the stories of several women, each emotionally inhibited in her own way: through self-doubt, fear, guilt, moral drift, and distrust. The novel follows their inner struggles to overcome these barriers to happiness and wholeness. The author's own experiences, as recorded in her famous diaries, supplied the raw material for her fiction. It was her intuitive, experimental, and always original style that transformed one into the other. Nin herself memorably claimed that it was the fiction writer who edited the diary. Ladders to Fire is the first book of Nin's continuous novel, Cities of the Interior, which also includes Children of the Albatross, The Four-Chambered Heart, A Spy in the House of Love, and Seduction of the Minotaur. These loosely interlinked stories develop the characters and themes established in the first volume, leading slowly toward a resolution of inner turmoil and conflict. This Swallow Press reissue of Ladders to Fire includes a new introduction by Nin scholar Benjamin Franklin V, as well as Gunther Stuhlmann's classic foreword to the 1995 edition.
A charming and amusing view of Nins early life, from age eleven to seventeen; the self-portrait of an innocent girl who is transformed, through her own insights, into an enlightened young woman. ';An enchanting portrait of a girls constant search for herself' (Library Journal). Preface by Joaquin Nin-Culmell; Index; photographs and drawings. Translated by Jean L. Sherman.
A continuation of the journey of self-education and self-discovery begun by Anas Nin in the previous volume of her early diary. Central here is the growing conflict between her role as woman and her determination to be a writer. Editor's Note by Rupert Pole; Preface by Joaquin Nin-Culmell; Index; photographs.
A bridge between the early life of Nin and the first volume of her Diary. In pages more candid than in the preceding diaries, Nin tells how she exorcised the obsession that threatened her marriage and nearly drove her to suicide. Editor's Note by Rupert Pole; Preface by Joaquin Nin-Culmell; Index; photographs.
In The Novel of the Future, Anais Nin explores the act of creation-in film, art, and dance as well as literature-to chart a new direction for the young artist struggling against what she perceived as the sterility, formlessness, and spiritual bankruptcy afflicting much of mid-twentieth-century fiction. Nin offers, instead, an argument for and synthesis of the poetic novel and discusses her own efforts in this genre as well as its influence on the development of such writers as D. H. Lawrence, Henry Miller, Lawrence Durrell, Marguerite Young, and Djuna Barnes. In chapters devoted to the pursuit of the hidden self, the genesis of fiction, and the relationship between the diary and fiction, she addresses the materials, techniques, and nourishment of the arts, and the functions of art itself. Originally published in 1968, The Novel of the Future remains a classic among both creative writers and literary scholars. This new Swallow Press edition includes an introduction by Nin biographer Deirdre Bair.
The Quotable Anais Nin is the first and only Nin quotebook, with 365 verified and cited quotations. It is not only a reference book, it is a source of inspiration to readers everywhere.
Under a Glass Bell is one of Nin's finest collections of stories. First published in 1944, it attracted the attention of Edmond Wilson, who reviewed the collection in The New Yorker. It was in these stories that Nin's artistic and emotional vision took shape. This edition includes a highly informative and insightful foreword by Gunther Stuhlmann that places the collection in its historical context as well as illuminates the sequence of events and persons recorded in the diary that served as its inspiration. Although Under a Glass Bell is now considered one of Anais Nin's finest collections of stories, it was initially deemed unpublishable. Refusing to give up on her vision, in 1944 Nin founded her own press and brought out the first edition, illustrated with striking black-and-white engravings by her husband, Hugh Guiler. Shortly thereafter, it caught the attention of literary critic Edmund Wilson, who reviewed the collection in the New Yorker. The first printing sold out in three weeks. This new Swallow Press edition includes an introduction by noted modernist scholar Elizabeth Podnieks, as well as editor Gunther Stuhlmann's erudite but controversial foreword to the 1995 edition. Together, they place the collection in its historical context and sort out the individuals and events recorded in the diary that served as its inspiration. The new Swallow Press edition also restores the thirteen stories to the order Nin specified for the first commercial edition in 1948.