“The celebrated diarist, novelist and electric personality reappears with all the fire of her eroticism in pages untouched by a Bowdler or a Puritan…. Readers will find Nin a most entertaining companion—her multiple simultaneous relationships with men, her gleefully graphic descriptions of sex acts…. In one late entry, Nin complains, mildly: ‘My world is so large I get lost in it’; readers will do the same—and gratefully so.”
“Anaïs Nin (1903–1977) is not only one of history’s most dedicated diarists, but also a vocal expounder of the idea that keeping a diary enhances your creativity…. Mirages (is) revelatory in its entirety.”
“Exquisitely nuanced, ornate, delicate and raw, endlessly evocative and provocative. Nobody does it better.”
Washington Independent Review of Books
“(Mirages)…is a highly personal account of Nin's inner life and relationships…”
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.
Anaïs Nin (1903–1977) is an iconic literary figure and one of the most notable experimental writers of the twentieth century. As one of the first women to explore female erotica, Nin revealed the inner desires of her characters in a way that made her works a touchstone for later feminist writers. Swallow Press is the premier US publisher of books by and about Nin. More info →
Paul Herron is the founder and editor of Sky Blue Press, which publishes the journal A Café in Space and digital editions of the fiction of Anaïs Nin, as well as a new collection of Nin erotica, Auletris. More info →
Excerpt: Letter from Henry Miller and reply from Anaïs Nin (Nov. 1942)Download
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Although Anaïs Nin found in her diaries a profound mode of self-creation and confession, she could not reveal this intimate record of her own experiences during her lifetime. Instead, she turned to fiction, where her stories and novels became artistic “distillations” of her secret diaries.
Although Under a Glass Bell is now considered one of Anaïs Nin’s finest collections of stories, it was initially deemed unpublishable. Refusing to give up on her vision, in 1944 Nin founded her own press and brought out the first edition, illustrated with striking black-and-white engravings by her husband, Hugh Guiler. Shortly thereafter, it caught the attention of literary critic Edmund Wilson, who reviewed the collection in the New Yorker.
Anaïs Nin made her reputation through publication of her edited diaries and the carefully constructed persona they presented. It was not until decades later, when the diaries were published in their unexpurgated form, that the world began to learn the full details of Nin’s fascinating life and the emotional and literary high-wire acts she committed both in documenting it and in defying the mores of 1950s America.
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