Anaïs Nin

Delta of Venus

Thirteen erotic vignettes capture a variety of sexual experiences as they feature rivals for the same lover, husbands with exotic tastes and frustrated wives, a celebrated prostitute, a sixteen-year-old waif striving to surpass her mother, and other adventurers. Reprint. 15,000 first printing.

Erotica

Little Birds

The Unexpurgated Diary of Anias Nin, 1932-1934

Incest: From a Journal of Love 

“The genesis of House of Incest was in the dream. The keeping of dreams was an important part of that exploration of the unconscious. But I discovered dreams in themselves, isolated, were not always interesting. Very few of them had the complete imagery and tension to arouse others’ interest. They were fragmented. The surrealists delighted in the image themselves. This was satisfying to the painters and to the film-makers. But to the novelist concerned with human character dramas, they seemed ephemeral and vaporous. They had to be connected with life. It was psychoanalysis which revealed to me the constant interaction of dream and action. It was a phrase of Jung’s which inspired me to write House of Incest. He said: “Proceed from the dream outward.” In other words, it was essentially a matter of precedence. To capture the drama of the unconscious, one had to start with the key, and the key was the dream. But the novelist’s task was to pursue this dream, to unravel its meaning; the goal was to reach the relation of dream to life; the suspense was in finding this which led to a deeper significance of our acts. "Meanwhile a batch of dreams kept for a year served as a takeoff for House of Incest. They supplied the atmosphere, its climate and texture. At the same time I discovered that the dream had to be expanded, recreated, could not be told literally for then it became as flat and one-dimensional as representational realism. One had to find a language for it, a way of describing atmosphere, the colors and textures in which it moved. […]” "The dream taught me not only the delight of sensory images, but the fact, far more vital, that they led directly into this realm of the unconscious which Joyce, Virginia Woolf, and Proust attained in various ways—Joyce by free association, with words, play on words, Proust by trusting the free associative process of memory and staying lingeringly in the realm between sleep and waking which resembles the waking dream, Virginia Woolf by accepting the vision of the poet as reality. House of Incest was, like a poem, visionary symbolic dream sequences which were woven together.” —Anaïs Nin, “The Novel of the Future,” (Athens: Ohio University Press, 1986), 118–119 Originally published in 1936, House of Incest is Anais Nin's first work of fiction. The novel is a surrealistic look within the narrator's subconscious mind as she attempts to escape from a dream in which she is trapped, or in Nin's words, as she attempts to escape from "the woman's season in hell." In the documentary Anais Observed, Nin says House of Incest was based on dreams she'd had for more than a year.Nin's usage of the word incest in this case is metaphorical, not literal. In this book the word incest describes a selfish love where one can appreciate in another only that which is similar to oneself. One is then only loving oneself, shunning all differences. At first, such a self-love can seem ideal because it is without fear and without risk. But eventually it becomes a sterile nightmare.

House of Incest

Here, in more than twenty essays, Nin shares her unique perceptions of people, places, and the arts. Includes several lectures and two interviews.

And Other Essays

In Favour of the Sensitive Man

Spy in the House of Love

V5 In Nin'S Continuous Novel

Seduction Of The Minotaur

Delta of Venus and Little Birds

Diarios amorosos : Incesto (1932-1934) / Fuego (1934-1937)

Pájaros de fuego

Esta coletânea, publicada pela primeira vez em 1976 e lançada anteriormente no Brasil como "Em busca de um homem sensível", traz 27 textos selecionados pela própria autora. Defensora de um olhar íntimo e pessoal como caminho para o autoconhecimento e emancipação, Nin se revela aqui uma ensaísta apaixonante. Eis aqui um livro de ideias potentes, que desvenda uma pensadora central na história do feminismo e que ainda tem muito a contribuir para o debate sobre identidade, gênero e desigualdade.

Ser mulher & outros ensaios

Anais Nin's second work of fiction, The Winter of Artifice, was, according to Nin, her only banned book. Published in France in 1939, it consisted of 3 novellas, each of which fictionalized an important event in Nin's life: her affair with Henry and June Miller ("Hans and Johanna"), her incestuous relationship with her father ("Lilith"), and her relationship with Otto Rank ("The Voice"). When Nin smuggled copies out of France to New York at the onset of World War Two, she immediately realized that she would be unable to republish it in the USA unless she took drastic steps to satifiy the censors. She cut out "Hans and Johanna" entirely, and she heavily edited the remaining two novellas, and she published the edited version with her own Gemor Press. Only a few copies of the original version exist today, and one of them was used to reproduce this ebook. It is an important document in Nin's literary canon, and the one that is most overlooked.

The Winter of Artifice

NIN INÉDITA La mejor introducción a la obra de una autora admirada por lectores y escritores de ayer y de hoy: dieciséis relatos apasionantes «Antes de Lena Dunham, estuvo Anaïs Nin.» Sady Doyle, The Guardian «Mujer loca y sabia. [...] Esa literatura marginal que cada día me parece más bella.» Julio Cortázar Estoy cansada de buscar una filosofía que concuerde conmigo y con mi mundo, quiero buscar un mundo que concuerde conmigo y con mi filosofía. Escritos cuando tenía unos veinticinco años y vivía en Francia con su marido, el poeta y banquero norteamericano Hugh Parker Guiler, estos dieciséis relatos inéditos en castellano sorprenden por su madurez y frescura, a la vez que muestran ya los dos elementos que luego se afianzarían en su obra —la ironía y el feminismo— y también sus obsesiones —el deseo femenino, la sexualidad, el adulterio, la belleza y el retrato de una masculinidad tan deslumbradora como tóxica—. Algunas de estas historias están protagonizadas por claros alter ego de Nin; otras, por apasionadas bailarinas de flamenco, misteriosos extranjeros, músicos... Poco después de escribir estos cuentos, Nin conocerá a Henry Miller, que diría de ella: «Cuando trato de imaginar de quién es deudor tu estilo, me siento frustrado, no recuerdo a nadie con el que tengas el más ligero parecido. Me recuerdas únicamente a ti misma». Melancólicos y punzantes, revelan ya a una gran autora que hizo saltar por los aires las convenciones literarias y sociales de su época. ENGLISH DESCRIPTION (Never Before Published Anaïs Nin) The best introduction to the work of an author admired by readers and writers of yesteryear and today: sixteen exciting and passionate stories. “Crazy and wise woman. [...] That marginal type of literature that every day seems more beautiful to me.” —Julio Cortazar “I'm tired of looking for a philosophy of life that agrees with me and with my world, I want to find a world that agrees with me and with my philosophy of life.” Written when she was about twenty-five years old and living in France with her husband, American poet and banker Hugh Parker Guiler, these sixteen stories, never before published in Spanish, amaze by their maturity and freshness, while at the same time starting to display the two elements that would later take hold of her work —irony and feminism— and also her obsessions: female desire, sexuality, adultery, beauty, and the portrayal of a masculinity as dazzling as it is toxic. Some of these stories clearly have as protagonists some of Nin’s alter egos; while others have passionate flamenco dancers, mysterious foreigners, musicians ... Shortly after writing these stories, Nin would meet Henry Miller, who said this about her: “When I try to imagine who you owe credit to for your unique style, I get frustrated, I can’t think of anyone with whom you have the slightest resemblance. You only remind me of yourself.” Melancholic and intense, these stories reveal a great author who blew up the literary and social standards of her time. "Before Lena Dunham, there was Anaïs Nin." —Sady Doyle, The Guardian

Anaïs Nin

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