
(1903–1977)
French-born U.S. writer and diarist“I want to be your south wind—bringing good and fruitful things only.”
more infosource: letter to Henry Miller, October 8, 1933, in A Literate Passion: Letters of Anaïs Nin & Henry Miller, 1932–1953 (New York: Harcourt Brace, 1989), 215.
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category: friendship, love, wind
medium: Letter
“Writers do not live one life, they live two. There is the living and then there is the writing. There is the second tasting, the delayed reaction.”
more infosource: The Diary of Anaïs Nin, Vol. 1 1931–1934 (New York: The Swallow Press, 1966), 73.
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category: creative process, life, writing
medium: diary
“The white page for me is like a ski slope; I go absolutely mad! I go mad in stationery stores. Just to see beautiful paper gives me a desire to write.”
more infosource: “The Artist as Musician,” in A Woman Speaks (Chicago: The Swallow Press, 1975), 219.
category: creative process, paper, tool, writing
medium: Interview
notes: interview is edited and built out of various conversations, interviews, and seminars
“I think we do need to carry the blueprint, the image of something we want. I don’t mean the impossible, the absolute thing, the romantic thing, the neurotic thing, the narcissistic thing like trying to find the twin who says ‘yes’ to everything. I mean once you are ready to accept the reality of human beings, then I think you do need to have a blueprint. I say the dream serves to guide us towards what we want. We do have to have a wish—I don’t mean that kind of impossible hope—but we do have to have some image of what we want to go towards, because that guides us.”
more infosource: “Proceed from the Dream,” in A Woman Speaks (Chicago: The Swallow Press, 1975), 125.
medium: essay
notes: essay is built out of various seminars, talks, and interviews given by Nin
“At the right there was an old House—the window was open. We could see a table with a greenish oil cloth, on it a long bread, a bottle of wine, heavy white plates. We could only see the old hands of the people who were eating. A hand passed a basket with 2 peaches on it. It was all the paintings of the world, quiet, resisting time, everlasting. It is the only image of duration and eternity I have seen in a long time.”
more infosource: letter to Felix Pollak dated July 18, 1958 in Arrows of Longing (Athens: Ohio University Press, 1998), 128–29.
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category: beautiful description, duration, eternity, food, France, Montmartre, painting, Paris, scene
medium: letter
notes: Felix Pollak (1909–1987) was an American poet
“There is a way of living which makes for greater airiness, space, ease, freedom. It is like an airplane’s rise above the storms. It is a way of looking at obstacles as something to overcome; of looking at what defeats us as a monster created by ourselves, within ourselves, by our fears, and therefore dissolvable and transformable.”
more infosource: The Diary of Anaïs Nin (Vol. 4 1944–1947) (New York: Harcourt Brace Jovanovich, 1971), 148.
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category: fear, freedom, living, obstacle, perspective, transform
medium: diary
“Introspection does not need to be a still life. It can be an active alchemy.”
more infosource: The Diary of Anaïs Nin (Vol. 1 1931–1934) (New York: The Swallow Press, 1966), 126.
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category: alchemy, introspection, mind, still life
medium: diary
“It was only when I wrote my first book that the world I wanted to live in opened to me.”
more infosource: The Diary of Anaïs Nin (Vol. 1 1931–1934) (New York: The Swallow Press, 1966), 185.
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category: creativity, first book, writing
medium: diary
“Work: work doesn’t solve everything but when a person is practicing the work that he loves, you can always tell; there is a rhythm in their absorption which shows in the eyes; their eyes glitter with sights brought back from private places: when the right words come together the world becomes at that moment mathematically perfect: so with each stitch of the cobbler’s machine, the tailor’s needle. They are seeing unity, peace, in some tiny fragment of the world and they know that this fragment is themselves.”
more infosource: The Diary of Anaïs Nin (vol 5, 1947–1955) (New York: First Harvest, 1975), 172.
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category: calling, flow, passion, work
medium: diary
“I put my faith in therapy as others do in religion, or philosophy.”
more infosource: The Diary of Anaïs Nin (Vol 7, 1966–1974) (New York: Harcourt Brace Jovanovich, 1980), 175.
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category: faith, psychology, religion, therapy
medium: letter
notes: Nin wrote these words in a letter to a reader in winter 1970–1971
“When you allow yourself to be negative, you add to the burdens of the world.”
more infosource: The Diary of Anaïs Nin (Vol 7, 1966–1974) (New York: Harcourt Brace Jovanovich, 1980), 148.
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category: advice, burden, negative thinking
medium: letter
notes: Nin wrote these words in a letter to a reader, summer of 1970. She reprinted the letter in her diary.
“Books are the greatest companions, confessors, confidantes, tutors, a source of pleasure, a cure for loneliness, and to find one, in the middle of an island in Tahiti, in the heart of the Moroccan desert, or at an airport where one is stranded for a night, is to find the friend who reminds us we are not alone.”
more infosource: The Diary of Anaïs Nin (Vol 7, 1966–1974) (New York: Harcourt Brace Jovanovich, 1980), 104.
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category: airport, book, comfort, companionship, loneliness, reading, travel
medium: diary
notes: Fall, 1969 entry in Nin's diary
“She refused to sleep in the same bed with a dead love, the skeleton of a passion.”
more infosource: The Diary of Anaïs Nin (Vol 7, 1966–1974) (New York: Harcourt Brace Jovanovich, 1980), 82.
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category: breakup, love, passion, sex
medium: diary
notes: from a spring 1969 entry in Nin's diary
“…in New York at the end of the day I play ostrich. I take a glass of beer or wine or a pill and go to sleep to have energy for the next day.”
more infosource: The Diary of Anaïs Nin (Vol 7, 1966–1974) (New York: Harcourt Brace Jovanovich, 1980), p53.
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category: alcohol, city living, coping mechanism, drug, escape, New York City, ostrich
medium: diary
notes: from a winter 1967–1968 entry in Nin's diary
“The abstract beauty of Japanese art issues from the abstract beauty of their lives. They do not like clutter. They like to look at one flower at a time, one painting, one pot. They have a storage house for the objects of art which are not being displayed.”
more infosource: The Diary of Anaïs Nin (Vol 7, 1966–1974) (New York: Harcourt Brace Jovanovich, 1980), 22.
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category: beauty, clutter, Japan, simplicity
medium: diary
notes: from a summer 1966 entry in Nin's diary (observations of her trip to Japan)


Anaïs Nin