October 2010
59 posts
“To change skins, evolve into new cycles, I feel one has to learn to discard. If one changes internally, one should not continue to live with the same objects. They reflect one’s mind and the psyche of yesterday. I throw away what has no dynamic, living use.”
—Anaïs Nin (via bidzovka)
“My diary seems to keep me whole.”
—Anaïs Nin (via kerfluffle)
“Introspection is a devouring monster. You have to feed it with much material, much expeirence, many people, many places, many loves, many creations & then it ceases feeding you.”
—Anaïs Nin (via tziganeheart)
“I am attracted by unconventionality. I don’t really want to become normal, average, standard. I want merely to gain in strength, in the courage to live out my life more fully, enjoy more, experience more. I want to develop even more original and more unconventional traits.”
—Anaïs Nin; The Diary of Anais Nin, Volume One: 1931-1934 (via igetthatalotblog)
“I want to be a world all to myself… I feel like playing all the roles.”
—Anaïs Nin (via bedroombetty)
“But I am not always in what I call a state of grace. I have days of illuminations and fevers. I have days when the music in my head stops. Then I mend socks, prune treets, can fruits, polish furniture. But while I am doing this I feel I am not living.”
—Anaïs Nin (via hahaheathen)
“I will never be able to describe the states of dazzlement, the trances, the ecstasies produced in me by love-making. More than communion, more than any joy in writing, more than the infinite, lies in the unity achieved by passion. It is the only moment when I an at rest, that is the summit, the grace, the miracle.”
—Anaïs Nin (via thesaucyscribe)
“To live only one aspect or one side of the personality is like using only one sense, and the others become atrophied. There is greatness only in fulfillment, in the fullness of awakening.”
—Anaïs Nin (via thesaucyscribe)
“When I look at your face, I want to let go and share your madness, which I carry inside of me like a secret and cannot conceal anymore. I am full of an acute, awesome joy. It is the joy one feels when one has accepted death and disintegration, a joy more terrible and more profound than the joy of living, of creating.”
— Anaïs Nin, Henry and June (via rabbitinthemoon)
“
The morning I got up to begin this book I coughed. Something was coming out of my throat: it was strangling me. I broke the thread which held it and yanked it out. I went back to bed and said: I have just spat out my heart.
There is an instrument called the quena made of human bones. It owes its origin to the worship of an Indian for his mistress. When she died he made a flute out of her bones. The quena has a more penetrating, more haunting sound than the ordinary flute.
Those who write know the process. I thought of it as I was spitting out my heart.
Only I do not wait for my love to die.
” —Anais Nin, House of Incest (via aperfectcommotion)
“Expressing feeling is linked directly with creation. My telling all to the diary helped me in this. You find yourself in a barren environment and tend to withdraw. This will be bad for you as an artist, writer, or painter. In this ability to tap the sources of feeling and imagination lies the secret of abundance. In withdrawing there is danger of sterility or withering. Try to write in your diary to keep that little flame burning. Expand, open, speak, name, describe, exclaim, paint, caricature, dance, jump in your writing. We are here as writers to say everything. Speak for your moods, make your muteness and silence eloquent. The drawings you sent are a closed face upon the world.”
—Anaïs Nin (via lastdreamofjesus)
“Living never wore one out so much as the effort not to live.”
—Anaïs Nin (via yralgebra)
“We have reached a hastier and superficial rhythm, now that we believe we are in touch with a greater amount of people, more people, more countries. This is the allusions which might cheat us of being in touch deeply with the one breathing right next to us. It is a dangerous time when mechanical voices, radios, telephone, take the place of human intimacies, and the concept of being in touch with millions brings a greater, and greater poverty in intimacy and human vision.”
—Anaïs Nin (via thechocolatebrigade)
“A hotel room, for me, has an implication of voluptuousness, furtive, short lived. Perhaps my not seeing Henry has heightened my hunger. I masterbate often without remorse or after distaste. For the first time I know what it is to eat. I have gained four pounds. I am frantically hunger, and the food I eat gives me a lingering pleasure. I never ate before in this deep carnal way. I have only three desires now, to eat, to sleep, and to fuck. The cabarets excite me. I want to hear raucous music, see faces, to brush against bodies, to drink fiery Benedictine. Beautiful women and handsome men arouse fierce desires in me. I want to dance. I want drugs. I want to know perverse people, to be intimate with them. I never look at naive faces. I want to bite into life, and to be torn by it. Henry does not give me all this. I have aroused his love. Curse his love. He can fuck me as no one else can, but I want more than that. I’m going to hell, to hell, to hell.”
—Anaïs Nin, A Journal of Love (via ryantiberti)
“I feel as if I carry inscribed over me: my past killed me.”
—Anaïs Nin (via ahuntersheart)
“I had a feeling that Pandora’s box contained the mysteries of woman’s sensuality, so different from man’s and for which man’s language was inadequate. The language of sex had yet to be invented. The language of the senses was yet to be explored.”
—Anaïs Nin (via thefoolsgoldmouthpiece)
“My happiness with human beings is so precarious, my confiding moods rare, and the least sign of non-interest is enough to silence me.”
—Anaïs Nin (via iamtwowithnature)
