By Suzanne Nalbantian
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Extra info for Anaïs Nin Literary Perspectives
In the opus, the personae remain in the devious pathways towards the truth at the centre of the labyrinth. But in the life of the author, the maquillage art remains the one big 'cover-up', which shields her from the emotions of deceptions and raises her to another level of perception. Nin's early work Winter of Artifice had set the key to her larger fiction from the start, stressing the tension between the emotion and the art. It can be argued, therefore, that only through art did she reach the larger truths she had not found in her life-experience.
Also, she was attracted to his earlier writing The Double and the Don Juan Figure (1924-5), which would have some bearing on her relationship with her father. When in November 1933 Nin was on her way to meet Rank for the first time in Paris, she records in her diary her confession to him of her need to rid herself of her lies: 'I am tired of 18 Suzanne Nalbantian lies and deformities. ' 22 But it was not long before Rank was trying to convince her that underneath the subterfuge was the unitary self which she must make efforts to find.
The quotation in the next paragraph is on p. ll2. 5. H. Lawrence: An Unprofessional Study (London: Neville Spearman, 1961), pp. 33-4. 6. Ana"is Nin, House of Incest (Ann Arbor, MI: Edwards Brothers, 1958), p. 40. 7. See my book Aesthetic Autobiography (London and New York: Macmillan and St Martin's Press, 1994), pp. 175--6. 8. Entry of April 1932 in The Diary of Anais Nin: Vol. I, pp. 73-4. 9. Nin, House of Incest, p. 26. 10. Ana"is Nin, A Spy in the House of Love in Cities of the Interior (1959; Chicago, IL: Swallow Press, 1974), p.