Anais Nin, a trailblazing American author and diarist, explored themes of love, desire, and identity through her candid and introspective writing. Her groundbreaking diaries, spanning decades of her life, offer a revealing glimpse into her innermost thoughts and emotions, making her a literary icon of personal expression and self-discovery.
"I must be a mermaid, Rango. I have no fear of depths and a great fear of shallow living."
"He failed to see that it contained at once all of Djuna's wishes which had been denied, and these wishes had flown from all directions to meet at this intersection and to plead once more for understanding."
"What can I do with my happiness? How can I keep it, conceal it, bury it where I may never lose it? I want to kneel as it falls over me like rain, gather it up with lace and silk, and press it over myself again."
"What can I say Rango? What can I do to prove to you that I belong to you?"
"We did not touch each other. We were both leaning over the abyss."
"Sex does not thrive on monotony. Without feeling, inventions, moods,no surprises in bed. Sex must be mixed with tears, laughter, words, promises, scenes, jealousy, envy, all the spices of fear, foreign travel, new faces, novels, stories, dreams, fantasies, music, dancing, opium, wine."
"Do you have regrets that we were so overwhelmed? Do you ever wish to live those hours over again and differently, with more confidence."
"In the world of the dreamer there was solitude: all the exaltations and joys came in the moment of preparation for living. They took place in solitude. But with action came anxiety, and the sense of insuperable effort made to match the dream, and with it came weariness, discouragement, and the flight into solitude again. And then in solitude, in the opium den of remembrance, the possibility of pleasure again."
"Love reduces the complexity of living. It amazes me that when Henry walks towards the cafe table where I wait for him, or opens the gate to our house, the sight of him is sufficient to exult me. No letter from anyone, even in praise of my book, can stir me as much as a note from him."
"He, who had done more than any human being to draw her out of the caves of her secret, folded life, now threw her down into deeper recesses of fear and doubt. The fall was greater than she had ever known, because she had ventured so far into emotion and had abandoned herself to it."
"This diary is my kief, hashish and opium pipe. This is my drug and my vice."
"Ali Baba protects the lovers! Gives them the luck of bandits, and no guilt, for love fills certain people and expands them beyond all laws; there is no time, no place for regrets, hesitations, cowardices. Love runs free and reckless, and all the gentle trickeries perpetrated to protect others from its burns-those who are not the lovers but who might be the victims of this love's expansion."
"And silence. She liked the silence most of all. The silence in which the body, senses, the instincts, are more alert, more powerful, more sensitized, live a more richly perfumed and intoxication life, instead of transmuting into thoughts, words, into exquisite abstractions, mathematics of emotion in place of violent impact, the volcanic eruptions of fever, lust and delight."
"The writer is the duelist who never fights at the stated hour, who gathers up an insult, like another curious object, a collector's item, spreads it out on his desk later, and then engages in a duel with it verbally. Some people call it weakness. I call it postponement. What is weakness in the man becomes a quality in the writer. For he preserves, collects what will explode later in his work. That is why the writer is the loneliest man in the world; because he lives, fights, dies, is reborn always alone; all his roles are played behind a curtain. In life he is an incongruous figure."
"The origin of illness may be in the past, but the virulent crisis must be dynamically tackled. I believe in attacking the core of the illness, through its present symptoms, quickly, directly. The past is a labyrinth. One does not have to step into it and move step by step through every turn and twist. The past reveals itself instantly, in today's fever or abscess of the soul."
"Then at certain moments I remember one of his words and I suddenly feel the sensual woman flaring up, as if violently caressed. I say the word to myself, with joy. It is at such a moment that my true body lives."
"When you're in my arms, I know you're mine. But your feet are so swift, so swift, they carry you as lightly as wings, I never know where, too fast, too fast away from me."
"We write to lure and enchant and console others. We write to serenade our lovers. We write to taste life twice, in the moment, and in retrospection... We write to be able to transcend our life, to reach beyond it... We write to expand our world when we feel strangled, or constricted, or lonely."
"She lacks the core of sureness, she craves admiration insatiably. She lives on reflections of herself in others' eyes. She does not dare to be herself."
"You sought to preserve your creative instincts and what would nourish them. But neurosis itself does not nourish the artist, you know; he creates in spite of it, out of anything, any material given to him. The torments and hells of [crazy men], are not for you."
"When your beauty struck me, it dissolved me. Deep down, I am not different from you. I dreamed you, I wished for your existence. I see in you that part of me which is you. I surrender my sincerity because if I love you it means we share the same fantasies, we share the same madness."
"All those who try to unveil the mysteries always have tragic lives. At the end they are always punished."
"Throw your dreams into space like a kite, and you do not know what it will bring back, a new life, a new friend, a new love, a new country."
"And the day came when the risk to remain tight in a bud was more painful than the risk it took to blossom."
"There are women's voices that sound like poetic, unearthly echoes. Then they change. The eyes change. I believe that all these legends about people changing into animals at night " like the stories of the werewolf, for instance " were invented by men who saw women transformed at night " from idealized, worshipful creatures into animals and thought that they were possessed."
"For too many centuries women have been being muses to artists. I wanted to be the muse, I wanted to be the wife of the artist, but I was really trying to avoid the final issue - that I had to do the job myself."
"Something is always born of excess: great art was born of great terror, great loneliness, great inhibitions, instabilities, and it always balances them."
"I am lonely, yet not everybody will do. I don't know why, some people fill the gaps and others emphasize my loneliness."