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The fourth volume of “one of the most remarkable diaries in the history of letters” (Los Angeles Times). The renowned diarist continues her record of her personal, professional, and artistic life, recounting her experiences in Greenwich Village for several years in the late 1940s, where she defends young writers against the Establishment—and her trip across the country in an old Ford to California and Mexico. “[Nin is] one of the most extraordinary and unconventional writers of [the twentieth] century.” —The New York Times Book Review Edited and with a preface by Gunther Stuhlmann
Mirages opens at the dawn of World War II, when Anaïs 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, Anaïs 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 Anaïs 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 seventh and final volume of the author’s “remarkable” diary is filled with the reflections of an older woman as she journeys through the world (Los Angeles Times). “One of the most remarkable diaries in the history of letters” ends as the author wished: not with her last two years of pain but at a joyous moment on a trip to Bali (Los Angeles Times). As she ages, Anaïs Nin reflects on how the deeply personal and introspective nature of her writings intertwines with her public life and her connections with other people, including her devoted readers. “One of the most extraordinary and unconventional writers of [the twentieth] century.” —The New York Times Book Review Edited and with a preface by Gunther Stuhlmann
Vol. 3 has imprint: New York, Harcourt, Brace & World; v. 4-7: New York, Harcourt, Brace, Jovanovich.
Largely ignored by mainstream audiences for the first thirty years of her career, Anais Nin (1903-1977) finally came into her own with the publication of the first part of her diary in 1966. Thereafter she was catapulted into fame. Throughout the late sixties and the seventies she attracted a host of devoted and admiring readers in the counter culture, who were magnetized by her personal liberation and openness. For a woman to make such probing exploration of the intimate recesses of her psyche made her a cult figure with a large and lasting readership. Born in France, Anais Nin lived much of her life in America. Her liaison with Henry Miller and his wife June, documented in her explicitly detailed diaries, became the subject of a major film of the nineties. Her forthright books, her diaries that continue to be published in a steady flow, and her charismatic charm made her the subject of many candid interviews, such as those collected here. Eight included in this volume are printed for the first time. Many others were originally published in magazines that are now defunct. Nin elaborates on subjects only touched upon in the diaries, and she speaks also of her role in the women's movement and of her philosophies on art, writing, and individual growth.
She remains torn between three men: Henry Miller, whose detached self-immersion and artistic "impersonality" both attract and repel her; Gonzalo More, a sensitive and attentive but jealous lover who drives her to distraction; and Hugh Guiler, her faithful husband, who provides a calm center for Nin. In addition, a wide circle of family, friends, and admirers makes demands on Nin's time and emotional energy.
The trailblazing memoirist and author of Henry & June recounts her relationships with Henry Miller and others—including her own father. Anaïs Nin wrote in her uncensored diaries like they were a broad-minded confidante with whom she shared the liberating psychosexual dramas of her life. In this continuation of her notorious Henry & June, she recounts a particularly turbulent period between 1932 and 1934, and the men who dominated it: her protective husband, her therapist, and the poet Antonin Artaud. However, most consuming of all is novelist Henry Miller—a man whose genius, said Anaïs, was so demonic it could drive people insane. Here too, recounted in extraordinary detail, is the sexual affair she had with her father. At once loving, exciting, and vengeful, it was the ultimate social transgression for which Anaïs would eventually seek absolution from her analysts. “Before Lena Dunham there was Anaïs Nin. Like Dunham, she’s been accused of narcissism, sociopathy, and sexual perversion time and again. Yet even that comparison undercuts the strangeness and bravery of her work, for Nin was the first of her kind. And, like all truly unique talents, she was worshipped by some, hated by many, and misunderstood by most . . . A woman who’d spent decades on the bleeding edge of American intellectual life, a woman who had been a respected colleague of male writers who pushed the boundaries of acceptable sex writing. Like many great . . . experimentalists, she wrote for a world that did not yet exist, and so helped to bring it into being.” —The Guardian Includes an introduction by Rupert Pole