Read e-book online Anaïs Nin Literary Perspectives PDF

By Suzanne Nalbantian

ISBN-10: 0312165234

ISBN-13: 9780312165239

ISBN-10: 0312165242

ISBN-13: 9780312165246

ISBN-10: 134925505X

ISBN-13: 9781349255054

ISBN-10: 1349255076

ISBN-13: 9781349255078

This e-book of essays is the 1st to probe Anaïs Nin's achievements as a literary artist. the gathering analyzes the literary concepts of Nin of their psychoanalytical and stylistic dimensions. participants scrutinize Nin's artistry, determining her certain modernist thoughts and her poetic vision.

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Extra info for Anaïs Nin Literary Perspectives

Example text

An unsuccessful novelist, he was also a pamphleteer who denounced what he thought to be the social ills of his day. He finally left 23 24 Joaquin Nin-Culmell Havana in 1883 and returned to Barcelona with his wife and first-born, Joaquin. On his transatlantic trip home he was favoured by the ship's chaplain to a reading of the latter's recently completed epic poem. The poem was the Atlantida and the poet-chaplain the great Jacinto Verdaguer. It was certainly one of the first readings and in any case a momentous one given the place and time, and made such an impression on grandfather Nin that he wrote what I believe is his best essay on that reading and published it the very year of Anai:s' birth.

206. The next quotation is on p. 209. 13. Ana"is Nin, Winter of Artifice {Chicago: Swallow Press, 1948), p. 94. The next quotations are on pp. ll9 and 122. 14. Entry of March 1933 in The Diary of Anais Nin: Vol. 1, p. 200. 15. Ana"is Nin, Children of the Albatross, in Cities of the Interior, p. 142. The next quotations from this work are on pp. 143 and 152. 16. The Four-Chambered Heart in Cities of the Interior, p. 273. 17. Entry of September 1948 in The Diary of Anai"s Nin: Vol. 5, p. 33. The next quotations are on the same page.

In the text of Nin's 'continuous novel', Djuna as a fictional character, for example, is in the city of Paris simultaneously and in the same way that she is in the cities of the interior; that is, in both the fiction and the personal subconscious one neither 'represents nor nonrepresentationally depicts' the other. Instead, the overcoded icon 'city' allows the communication of complex emotional life in an organized and intelligible way. It gives a textual dwelling to psychological events.

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Anaïs Nin Literary Perspectives by Suzanne Nalbantian


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