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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.
- Sales Rank: #761220 in Books
- Color: Black
- Published on: 1975-03-26
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .72" w x 5.50" l, .83 pounds
- Binding: Paperback
- 288 pages
Features
- ISBN13: 9780156260305
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
About the Author
Ana-s Nin (1903-1977) was born in Paris and aspired at an early age to be a writer. An influential artist and thinker, she was the author of several novels, short stories, critical studies, a collection of essays, two volumes of erotica, and nine published volumes of her Diary.
Most helpful customer reviews
16 of 17 people found the following review helpful.
Anais's Excellent Adventure
By Ruth Edlund
This volume is number five in the original series of Nin's published expurgated diaries. (As the major players in Nin's life have passed away, and libel suits have become a lessening concern, her literary executor has begun releasing additional volumes from the same time periods as the expurgated works containing previously suppressed material, which makes talking about a "series" confusing at times.) Volume Five finds Nin in America after World War II, during the era of the Feminine Mystique, living what has to have been a fairly expensive lifestyle on both coasts, plus Mexico, with no visible means of support. Knowing more of Nin's actual biography than she is willing to divulge in this volume helps in understanding this puzzle--she was married to two men at the time, one in New York, one on the West Coast.
This volume appears to have been written with more care than the 1944-47 volume, perhaps because with Nin's second marriage she was no longer spending as much time compulsively "ensorcelling" younger men. Nin dates her entries by the month or season of the year, and they appear to be written with reflection, rather than in the heat of the moment. This suggests also that the entries may have been more heavily edited, either before they were ever incorporated into the diary or later, for publication. This raises an interesting question for which there is no answer: If a diary is edited by the alteration of text, as opposed to the deletion of uninteresting or controversial matter, should it still be considered a diary? How much editing can be done before a work becomes no longer a diary but a series of essays? It depends on what the definition of "diary" is, of course, but I think there is a good argument that this volume is no longer a bad diary, as volume four was, but a fairly good series of essays.
A number of interesting events happen in Nin's outer life in this volume that are engagingly described. She goes to Mexico and describes her exotic life there quite beautifully. She copes with the death of her mother. She has an interesting literary friendship with James Leo Herlihy more than a decade before his great success as the author of the book _Midnight Cowboy_. She drops acid under laboratory conditions (in 1955!).
Nin doesn't seem as whiny about her inner life as she did in volume four of this series. Her ongoing struggles with lack of literary recognition are thus easier for at least this reader to take in stride than in volume four. Nin also appears to achieve some sort of psychological breakthough with her therapist of that period, Dr. Inge Bogner, and, as Nin describes it, achieves objectivity. Whatever it was, she seems less frantic at this juncture in her life.
Because Nin has a track record of being somewhat slippery, it is always a great temptation to read her diary volumes in tandem with her letters, biographies...and fiction. Therein lies the rub with her constant complaints about her lack of literary recognition. Although I respect her ambition to show psychoanalytic process in her characters, I just find that she mastered the diary genre much more than the fiction forms she attempted. Read Amy Bloom's and Peter Kramer's fiction, not Nin's, if you want intense psychological fiction, but do read Nin's diary.
Verdict: pretty good, but hard to appreciate fully unless you know a lot about Nin and her work.
10 of 10 people found the following review helpful.
The Rich and Continuing Saga
By Stacey M Jones
I just finished a book I didn't want to read, The Journals of Anaïs Nin: Volume Five (1947-1955). I had planned to read it, and its time came, but I just didn't feel like it. Happily, it took me about two pages to change my mind and enjoy this book in a little less than a week.
Anaïs Nin was born Angela Anais Juana Antolina Rosa Edelmira Nin y Culmell in France in 1903 to composer Joaquin Nin, who was of Cuban and Spanish background, and his wife, Rosa, who was Cuban, French and Danish. After Joaquin abandoned the family, the family moved to the United States in 1914. With the disapproval of her mother, Nin began work as an artist's model to help pay the family bills, and then returned to Europe in 1923. She studied psychoanalysis under Otto Rank, practiced as a lay analyst and underwent therapy with Carl Jung for a time. Nin is also well known her for lovers, Henry Miller, Otto Rank, Gore Vidal and Edmund Wilson. She was married, I believe, twice, once to Hugh Guiler, who looked the other way regarding her affairs, and once, bigamously, to Rupert Cole.
Nin's fame these days is primarily as a diarist, and there seem to be two veins of her diaries, those she published in an expurgated form in ten volumes, which remain popular, and another five-volume series of unexpurgated journals that focus on a shorter window of time around the decade of the 1930s. This book is from the former series, and is copyrighted in 1974. I have no idea where I got it.
Nin also wrote fiction, and I've read two of her fictional works, Spy in the House of Love and Delta of Venus. I also have read a biography, Anaïs: The Erotic Life of Anaïs Nin by Noel Riley Fitch. She was a peripheral literary figure during most of her lifetime and she died in 1977.
The main focus of her work seems to be psychological realism, and as she grew older, she seemed to see her diaries as the primary outlet of that stream of thought. As she writes in a letter to Max Geismar, copied into her journal in the winter of 1954-1955, "I only need to continue my personal life, so beautiful and in full bloom, and to do my major work, which is the diary. I merely forgot for a few years what I had set out to do."
This diary focuses on various themes of her life during this time, her struggle to get Spy published (she ends up self-publishing it), her travels and time spent living in Mexico, her friendships with Geismars and Jim Herlihy, her psychoanalysis with a Dr. Inge Bogner, and a return to the focus of her work as a diarist. She includes wonderful interludes about her life in Acapulco; a return trip to Paris, which is deliciously recounted with her nostalgic expectations sometimes being born out and sometimes failing; letters to and from Henry Miller; the fruit of her work with Bogner; and the story of her last days with her mother before Rosa's death from a heart attack.
This last is touchingly told, and she follows her feelings about both her parents to see how she reclaimed their characteristics with pride once they were lost to her, the same characteristics she sought to reject in herself while her parents were living.
Nin's writing is rich, like a filling meal, so the episodic and brief passages of the expurgated journals are suitable, somewhat "bite-sized," so to speak. In many ways she is very likable, and her descriptions of her life, travels, lectures and parties (she attends a costume party for which attendees were to dress as their own madness. She went bare-breasted with a bird-cage on her head...!) are fascinating, a look at her social circle and those who influenced her.
And sometimes, I thought, "Wow! I really would not like her!" especially when she wrote about meeting a very bizarre woman in New York, Nina Gitana de la Primavera, whom Nin admired for living even less in reality than Nin herself did. From Nin's diary description, I thought, "This woman is just crazy!" but Nin and Herlihy had a brief friendship with her, even though they had at first a deep visceral negative reaction to her. Herlihy attributed this reaction to his fear that Primavera was living as he would have liked, but was too afraid to do, so they forced themselves to spend time with her.
The book ends with Nin recounting an LSD trip she experienced at the behest of a psychologist who was trying to study its effects. He wanted her to participate because as a writer, she could better articulate the experience, which is clearly drawn in the journal. She seems to come to the conclusion that the drugs merely heightened what was in her own mind, as symbols appeared real to her that she had previously used in her work.
While the book is an enjoyable interlude, there is an underlying loneliness to it, as Nin fights the sadness of being rejected for her work and her dedication to creating a reality that links intellect and emotion in a fiction that she finds truer than literary realism. " I have raged at the wall growing denser between myself and others. I do not want to be exiled, alone, cut off. I wept at being isolated, at the blockade of the publishers." I found the book very interesting and readable. I recommend it.
3 of 3 people found the following review helpful.
Consumed By Lies & Ambition
By The Wingchair Critic
Anais Nin is the kind of contentious literary figure that readers of all backgrounds tend to find either attractive and inspirational or completely dislikable, with strong feeling running on either side. Among the literati of the 20th century, Lawrence Durrell, Henry Miller, Otto Rank, Marguerite Young and James Leo Herlihy fell into the first group, Djuna Barnes, Paul and Jane Bowles, Diana Trilling, Elizabeth Hardwick, Gore Vidal and May Sarton, into the second. The eminent critic Edmund Wilson was fascinated by Nin as an individual and attempted to her help in a variety of ways, but remained largely adverse to her writing.
Those of an ethical frame of mind tend to dislike Nin, since she was, in addition to being ruthlessly ambitious and self-promoting by any standards (even the anaisninblog.com site states, "there were few self-promoters as tireless as Anais Nin"), an active bigamist by choice for nine or more years of her life--living with one husband or the other as her needs dictated--and an enthusiastic participant in an ongoing incestuous sexual relationship with her biological father at the time she was a young married woman (though this fact was omitted from the initially-published diary and not known to the public until after Nin's death, the relationship is reflected in passages like "Guilt about exposing the father. Secrets. Need for disguises. Fear of consequences. Great conflict here. Division.").
As a diarist, Nin perpetrated a successful literary fraud that lasted over thirty years, until, some sixteen years after her death, a long 1993 article in The New Yorker exposed her deception in scrupulous detail. Ironically, her fraud particularly influenced many feminists of the late 1960s and early 1970s, who held Nin up as a sterling example of the independent, self-created ‘new woman’ they themselves wished to become. Thus those women were deceived by the very heroine they attempted to emulate.
In addition to short stories and surrealist pieces, Nin was also a composer of five nearly plotless novels featuring female protagonists, which she managed to have published with the aid of influential men (including Vidal and Wilson), though all were essentially critical and commercial failures upon release.
The initial problem with Nin's diaries as originally published is that Nin eliminated too many fundamental facts about her existence. Thus, readers of Volume One (1966) never learn that Nin married banker Hugh Guiler when she was 20 (and remained legally married to him for the rest of her life), or that it was Guiler's hefty income which allowed Nin the seemingly enviable life of creativity, luxury, and international travel she enjoyed. A self-made, financially independent woman Nin was not. And in time, due to her bigamy, she would rely not one husband for economic support, but on two.
This is of critical importance, for example, when considering the period during the 1940s when Nin printed several of her books on a privately-owned printing press, first on McDougal Street and later on 12th Street in the East Village: arduous work nonetheless perhaps, but the impression the reader receives from Volumes Three and Four of the diary is that Nin was an unmarried, poverty-stricken bohemian, successfully combatting an indifferent publishing world, freezing weather, tedious work, long hours, threatening pseudo-mafioso and nearly impossible odds.
The truth, on the other hand, is that Nin choose to print some of her books herself when publishers rejected them, but was otherwise living a life of plenty with her banker spouse on West 13th Street in Greenwich Village. Though Nin constantly writes of her pocketbook being literally and figuratively empty ("When I was alone, I ate badly, to save money...this winter, I had no gloves in freezing weather"), even the casual reader will notice that she incongruously spends her summers in Saint Tropez, Provincetown and Southampton on what appear to be an annual basis, and with no mention, ever, of any financial sacrifices she had to make or struggles she had to endure to be able to afford such trips. Presumably these months-long vacations, like so many other fundamental parts of her life, were paid for by her banker husband.
As initially published, the diaries, rewritten and edited exclusively by Nin, deleted all information relating to her long sexual relationship with her troubled father, her husband, and, in subsequent volumes, anything of her second, bigamist marriage to Rupert Pole in the mid-1950s. Most importantly, readers never knew that the diaries were substantially rewritten by Nin before release, so that diary entries ostensibly written by a bright, curious, somewhat inexperienced woman of twenty-eight were in fact completely reshaped by a mature woman of sixty-three, one with all the benefits of shrewd hindsight at her disposal.
Today, anyone who reads the early 'unexpurgated' volumes, which began to appear in the 1990s (and which, thanks to greedy and careless publishers, quickly aided in the complete unraveling of Nin's reputation), can observe the remarkable difference between the clumsy, largely uninteresting writing in the 'unexpurgated' volumes as opposed to the fluid, nimble and more lucid style found in 'The Diary of Anais Nin Volume 1: 1931-1934.’
'The Diary of Anais Nin Volume V: 1947-1955' (1975) appears to present Nin in her prime as a woman and artist, since she seems to have finally, after many years of experience, effort and psychoanalysis, become capable of authentic objectivity about herself, her life and the world. The volume opens with Nin living for several blissful months in Acapulco (ostensibly alone, but presumably with future second husband Rupert Pole) and ends with her experimenting legally with LSD while being observed by research scientists. Throughout the volume, Nin splits her life between Sierra Madre and Manhattan, since, as it is now known, Pole lived on one coast and Guiler on the other.
One of the ongoing themes of Volume Five is Nin’s attempt to cope with the anxiety that plagued her, and for which she seeks treatment with psychiatrist Dr. Inge Bogner. But of course Nin suffered from anxiety—she was alternately living with and lying to two husbands, neither of which was aware of the other, and her long sexual relationship with her father no doubt left inner scars of some kind.
Volume Five also outlines the writing of her most famous novel, 'A Spy in the House of Love' (1954, which revolves around a woman in a marital situation not unlike’s Nin’s during that period of her life) and the trouble she had attempting to get it published, as well as her growing friendships with painter Renate Druks (who, like Nin, was romantically drawn to younger men), underground filmmakers Curtis Harrington and Kenneth Anger, Marxist critic Maxwell Geismar, budding novelist James Leo Herlihy and composer Peggy Glanville-Hicks.
Nin seems admirably enlightened throughout much of Volume Five, but the question remains: when did Nin actually write the words contained, and how many of those words reflected the truth? Did she write them between 1947 and 1955, or some twenty-odd years later? Was the text written by an earnest woman writing between her forty-fourth and fifty-second years, or by a calculating woman of seventy?
With Nin's reputation in literary free fall, it is unlikely the world will ever really know the truth.
Another striking aspect of the diaries is that Nin routinely portrays herself and her motivations in a favorable light: she never addresses her willfulness, ambitions, deceits or manipulations as such, but continually presents herself as someone who routinely places the needs and feelings of others first. In her own eyes, she is self-sacrificing in every manner possible, considerate, giving, supportive, tolerant, understanding, helpful. But Nin was also capable "throwing the foetus [sic] in the river" after her employee, whom she refers to as "Albertine, the mousy maid," has a miscarriage on Nin's houseboat.
One of the reasons why Nin probably felt such a ceaseless sense of guilty obligation towards her mother, Henry Miller’s second wife, June, and Gonzalo More’s invalid wife, Helba Huara, is because, in each case, she was actively involved in a protracted sexual relationship with each of their husbands, though in her mother’s case, the couple had been separated some years before.
But Nin, who has quite a lot to say about WASP social hypocrisy throughout the diary, was highly dishonest and calculating throughout her lifetime, suffered from what today would be diagnosed as sexual addiction, and left many people who knew her disgusted with her and unable to say anything good about her whatsoever.
For example, one of the reasons Diana Trilling and other critics, especially female critics, took such umbrage with Nin's fiction is because they knew, through the grapevine of the Manhattan publishing world, that Nin freely compromised herself sexually to get her writing in print (one abundantly documented example is Nin's relationship with Edmund Wilson in the 1940s). Poet and one-time friend Robert Duncan went on to call her 'Anus Ninny' whenever possible, while early friend and traveling companion Gore Vidal spent a good part of his later career disparaging her in print whenever possible.
As has been remarked upon by many, Nin also tended to flatter herself to an extraordinary degree in the diary's pages ("..of all women, I seem the most idealized, the most legendary, a myth, a dream"), and seems never have let pass an opportunity to record compliments paid to her by others. Both actions may have been the result of Nin's admitted neurosis, a continual process of undervaluation and overvaluation of self.
Though Nin also clearly had a great many positive qualities, due to her own willfulness, manipulative personality and frustrated ambitions, she repeatedly sabotaged herself professionally, culminating in the initially-successful publication of the diaries in 1966, which brought her worldwide fame in her lifetime. But the Diary, as published, was essentially a lie and a fantasy.
As an adult--and as a trickster figure--Nin loved physical and metaphorical labyrinths, and they repeatedly appear as a motif in both the diary and her fiction. The actual labyrinth Nin created, however, was the web of deceptions she spun in both her personal and professional lives, and in which, finally, she herself would be caught. Nin’s decades of active psychoanalysis with Otto Rank, Rene Allendy, Martha Jaeger, Dr. Bogner and others ultimately failed her; interestingly, Nin had little good to say on the subject of morals or ethics, the very things that might have saved her and put her on the path to the kind of life she professed to want to live.
Had Nin allowed her diaries to be published as originally composed, posterity would have been able to accurately judge her talent by weighing the diaries on their own merits. But, having made almost a second career of deceit, Nin ultimately proved to be her own worst enemy, and thus is likely to be swept permanently into ‘the dustbin of history,’ or, if remembered at all, as little more than a footnote in literary history as "an early mistress of Henry Miller, who also wrote."
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