November 2010
37 posts
“The hero of this book may be the soul, bit it is an odyssey from the inner to the outer world, and it is Henry who is dispelling the fogs of shyness, taking me through the street, and keeping me in a cafe — until dawn.”
—Anaïs Nin (via midnightlights)
“I have wanted to give you the impossible, the gigantic, the inhuman.”
—Anaïs Nin (via slampiece)
“I am so restless. I smoke, get up, move about. I cannot bear my own company.”
—Anaïs Nin, Henry and June (via typecasted)
“How the honey flowed from her. He dipped his fingers in it lingeringly, then his sex, then he moved her so that she lay on him, her legs thrown over his legs, and as he took her,he could see himself entering into her, and she could see him too. They saw their bodies undulate together, seeking their climax. He was waiting for her, watching her movements.
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)
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)
“Bodies discovering each others. From so much touching they grew drugged. Their gestures were slow and dreamlike. Their hands were heavy. His mouth never closed.”
—Anaïs Nin, Delta of Venusn (via rawfaces)
“Luxury is not a necessity to me, but beautiful and good things are.”
—Anaïs Nin, Henry and June (via macabre-lovers)
“
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)
“To think of him in the middle of the day lifts me out of ordinary living.”
—Anaïs Nin (via runbarbierun)
“She fell in love with an extinct volcano.”
—Anaïs Nin, Ladders to Fire (via thisisendless)
“So delicacy and violence are about to meet and challenge each other. The image this brings to my mind is an alchemist workshop. Beautiful crystal bottles communicating with each other by a system of fragile crystal canals. These transparent bottles show nothing but jeweled, colorful liquids or clouded water or smoke, giving to the external eye an abstract aesthetic pleasure. The consciousness of danger, fatal mixtures, is known only to the chemist. I feel like a well-appointed laboratory of the soul—myself, my home, my life—in which none of the vitality fecund or destructive, explosive experiments has yet begun. I like the shape of the bottles, the colors of the chemicals. I collect bottles, and the more they look like alchemist bottles, the more I like them for their eloquent forms.”
—Anaïs Nin, The Diary of Anaïs Nin, Vol. 1: 1931-1934 (via awkwardteenagedriotgrrrl)
“You cannot see him as he really is, you cannot see anyone as he really is. he will always be disappointing because you are expecting someone.”
—
Anaïs Nin (via genoux)
“The hero of this book may be the soul, bit it is an odyssey from the inner to the outer world, and it is Henry who is dispelling the fogs of shyness, taking me through the street, and keeping me in a cafe — until dawn.”
—Anaïs Nin (via midnightlights)
“Everything can nourish the writer; the dictionary, a new word, voyage, an encounter, a book, a phrase learned.”
—Anaïs Nin (via thenyreeshow)
“The personal life deeply lived always expands into truths beyond itself.”
—Anaïs Nin (via mfs)
“June, you have killed my sincerity too. I will never know again who I am, what I am, what I love, what I want. Your beauty has drowned me, the core of me. You carry away with you a part of me reflected in you. When your beauty struck me, it dissolved me. Deep down, I am not different from you. I dreamed you, I wished for your existence. You are the woman I want to be. I see in you that part of me which is you. I feel compassion for your childish pride, for your trembling unsureness, your dramatization of events, your enhancing of the loves given to you. I surrender my sincerity because if I love you it means we share the same fantasies, the same madnessess.”
—Anaïs Nin; The Diary of Anaïs Nin, Volume I: 1931-1934 (via thechocolatebrigade)
“We may seem to forget a person, a place, a state of being, a past life, but meanwhile what we are doing is selecting a new cast for the reproduction of the same drama, seeking the closest reproduction to the friend, the lover, or the husband we are striving to forget. And one day we open our eyes, and there we are caught in the same pattern, repeating the same story. How could it be otherwise? The design comes from within us. It is internal.”
—Anaïs Nin (via leas)
“I had a feeling that Pandora’s box contained the mysteries of woman’s sensuality, so different from a man’s and for which man’s language was so inadequate. The language of sex had yet to be invented. The language of the senses was yet to be explored.”
—Anaïs Nin (via life-o-phile)
“I have wanted to give you the impossible, the gigantic, the inhuman.”
—Anaïs Nin (via slampiece)
