Questo libro include saggi brevi che coprono un periodo di quarant'anni e illustra la varietà di stili e preoccupazioni che hanno reso Anaïs Nin una delle scrittrici più influenti del suo secolo.
Pocos escritos exploran el amor de una mujer con tanto detalle y con tanta sutileza como este diario inédito y no censurado de Anaïs Nin. Es el registro de una vida que trata abiertamente los aspectos físicos de las relaciones amorosas y todo el espectro de sus ramificaciones psicológicas. He aquí una mujer que buscó la libertad de actuar desde sus deseos sexuales y emocionales con la misma libertad y abandono "amoral" que los hombres siempre han reclamado para ellos. Cuando Nin empezó a publicar fragmentos de su diario en 1966, el aspecto más francamente sexual de su vida fue eliminado, aun cuando era evidente que podría haberse dicho más de lo que apareció entonces respecto a su relación con Henry Miller y su esposa June, con el escritor y actor Antonin Artaud, con sus psicoanalistas René Allendy y Otto Rank y -lo más importante- con su padre. Es en estos diarios no expurgados - Incesto - donde aparece por primera vez toda la parte omitida en publicaciones anteriores, toda la culpabiilidad que la llevó a buscar la absolución de sus psicoanalistas y, sobre todo, esa decisiva y oscura transgresión que subyace en una mente tan aparentemente libre de ataduras y prejuicios. En su cruda exposición de la lucha de una mujer para llegar a un acuerdo consigo misma, y para encontrar la salvación en el acto de escribir, Incesto desvela a Anaïs Nin, sin máscaras ni secretos, aunque en el fondo permanezca misteriosa y quizá inexplicable.
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. "One of the most remarkable diaries in the history of letters" (Robert Kirsch, Los Angeles Times). Edited and with a Preface by Gunther Stuhlmann; Index; photographs.
From being a cult figure of the early feminist movement, Anaïs Nin later rose to international prominence with her writing. Characterised by the use of powerful, and at times, disquieting imagery, her work reveals great sensitivity and perception. These thirteen stories are no exception, and with a 'touch as light as a cobweb and colouring made of mirages' she penetrates the emotional depths of the individual in a world where illusion is the key to reality... Often considered Anaïs Nin's finest work of fiction, this collection of short stories was self-published by Nin with an old-fashioned hand press in 1944. Among the titles are "Houseboat," "The Mouse," "The Labyrinth," and "Birth."
"This celebrated volume begins when Nin is about to publish her first book and ends when she leaves Paris for New York"--
Nin continues her debate on the use of drugs versus the artist's imagination, portrays many famous people in the arts, and recounts her visits to Sweden, the Brussels World's Fair, Paris, and Venice. "[Nin] looks at life, love, and art with a blend of gentility and acuity that is rare in contemporary writing" (John Barkham Reviews). Edited and with a Preface by Gunther Stuhlmann; Index.
The author's experiences in Mexico, California, New York, and Paris, her psychoanalysis, and her experiment with LSD. "Through her own struggling and dazzling courage [Nin has] shown women groping with and growing with the world" (Minneapolis Tribune). Edited and with a Preface by Gunther Stuhlmann; Index.
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. "One of the most remarkable diaries in the history of letters" (Robert Kirsch, Los Angeles Times). Edited and with a Preface by Gunther Stuhlmann; Index; photographs.
Nin continues her debate on the use of drugs versus the artist's imagination, portrays many famous people in the arts, and recounts her visits to Sweden, the Brussels World's Fair, Paris, and Venice. "[Nin] looks at life, love, and art with a blend of gentility and acuity that is rare in contemporary writing" (John Barkham Reviews). Edited and with a Preface by Gunther Stuhlmann; Index.
