Because she did not quicken her movements, he changed her position, making her lie back. He crouched over so that he could take her with more force, touching the very bottom of her womb, touching the very flesh walls again and again, and then she experienced the sensation that within her womb some new cells awakened, new fingers, new mouths, that they responded to his entrance and joined in the rhythmic motion, that this suction was becoming gradually more and more pleasurable, as if the friction had aroused new layers of enjoyment. She moved quicker to bring the climax, and when he saw this, he hastened his motions inside of her and incited her to come with him, with words, with his hands caressing her, and finally with his mouth soldered to hers, so that the tongues moved in the same rhythm as the womb and penis, and the climax was spreading between both her mouth and her sex, in crosscurrents of increasing pleasure, until she cried out, half sob and half laughter, from the overflow of joy through her body.” —Anaïs Nin, Delta of Venus (via keythin)
She lived entirely by a kind of opportunism, all her acts dictated by the demands of the present situation. She eluded tabulations only to place herself more completely at the disposal of anyone’s fantasy about her.
She kept herself free of all identifications the better to obey someone’s invention about her.” —Anaïs Nin, Cities of the Interior (via immaculateconsumptive)
Anaïs Nin (via genoux)