bibliofágico (Anaïs Nin) Henry & June - Anais Nin
movie and book
Since watched Henry & June (1990), the Director Philip Kaufman, one of the great exponents of the art cinema ¹ erotic, loomed up the desire to read both the diary which the film is adapted as the fictional production of Anaïs, since that as bibliófago card-carrying, it is natural that I be tempted to tread the literary universe of a writer recently discovered, especially when dealing with written and a personality so striking (at least that painted by the film) and that of our protagonist. This film left me so intrigued and fascinated by the unique love triangle (if that is so we can define a relationship of love, admiration tempered by paixãoe "crises" of worship guided by an explicit "opportunism" sexual and literary, which are so distinct and sinuous enough to be indefinable) between the writer Anaïs Nin, another writer Henry Miller and his wife June, and by literary and intellectual facet setting out the first two.
The work that we know by writing Henry & June - Daily Non-cleansed of Anaïs Nin (1931 - 1932) , and in which the film was Kaufman based, includes the text extracted from the daily 32 to 36 (they were all duly numbered in order chronological, bearing in mind that Anaïs first began writing in 1914, then eleven years old, still with no idea of the vast and voluminous records of the work that eventually would become her life), entitled " June "," The possessed, "" Henry "," Apotheosis and fall "and" Diary of a possessed ", written in the period between October 1931 and October 1932 and, as evidenced the executor of the author, Rupert Pole, the book's preface, duly edited "to show the story of Anais, Henry and June. The article that appeared in The Daily Anaïs Nin, 1931 - 1934 [a previous edition] was withdrawn, mostly, but some of it was repeated here to create a coherent account & rdquo ;.
Nin's text is not merely a diary in the strict sense of the word, but an influx of records that fall between the memorial and the epistolary genre (there ; transcribed letters to daily) and the literature itself, in particular to consider Nin's diary literature by both the stylistic treatment to which she subjected her writings, in this respect superior to mere reports of events and / or descriptions spontaneous emotional states and thoughts, as given the likely volume of fiction that it can contain, according to the assumptions of some readers and critics, mixing reality and possibility, truth and fantasy, and actually lived by the imagination of the author. The I believe it is quite possible that some of Anaïs Nin describe feelings and emotions take the enthusiasm, intensity or the outpouring of time, painting her affair with Henry Miller and / or his attraction to June more intense and hyperbolic than it was. The passage of a critical The New York Times Book Review on the back of this issue of L & PM Pocket describes Henry & June like a book "at once elusive and restrained , lyric and objective, (...) the testimony of the struggle of a woman to have a clear dialogue with itself ": I agree with these statements; Anaïs Nin track a changing style, sometimes objective and concise, sometimes extremely intimate, dense and authoritative by the confession of emotions and feelings oscillating between tenderness and guilt, pleasure and fear, denouncing both his weaknesses and his obsessions (sometimes bound morally and psychologically, and even ; reduced to a common denominator, the example of his obsession with writing diaries, also initially identified by it as a weakness, and by Henry as a symptom of narcissistic personality), often framed by the paroxysm.
Notwithstanding that much of fantasy or exaggeration is in his testimonies, and in turn highlighting the fact that, as a writer, Anais had every right to allow the styling or the & ldquo ; beautification "of the accounts of their experiences and describe their feelings towards an aesthetic sense, so dear to his self-writer, remember that she, during the period covered by this daily, was in a transition phase, discovery and gradual maturation or some of their radical ideas and values. Anaïs Nin, as demonstrated through his diary and other documents and testimony pertaining to the show or the author suggests, sought to take full advantage and "learning" as much psychological and moral and intellectual experiences vivid, different and even painful offending through which it passed, many of these sought voluntarily by it precisely because of its desire to expand, "Open your horizons." A process that also permeates his style, influenced considerably by the fact that wheat fields were opened to him by Henry, like a freer and more sexualized vocabulary. The issue but irreconcilable duality Anaïs woman / wife / lover Anais X writer / artist / creator is often exploited by another peculiarity in his own diary.
It was at that time encompassed by the journal that Anais was detached more than her husband, Hugh Guiler banker, freeing itself from blame caused by his infidelity (as opposed to genuine loyalty to him, according to its design), with whom he lived a wedding suit and friendly, but shaken by a crisis, the extreme condition bourgeois Hugo (so named in the diaries, Latinized) and almost full absence of sexual chemistry between them (not perceived by him), she felt determined to get rid of the load sexual, moral and emotional represented by cases from the past, who surrendered to the passion intermittently troubled and ambiguous with the German writer Henry Miller settled in France, celebrated author of erotic novels see Tropic of Cancer, Tropic of Capricorn and Sexus : ambiguous because there were too thirst for experiences both physically and intellectual and artistic, on both sides, even they often talk and exchange ideas about their works and those of other authors (Dostoevsky is perhaps the most cited, Anaïs second writer who through his language freed both aesthetically and in one passage she compares her life to the life of the Russians just as it is exposed in his novel The Idiot due to the behavior of the characters moving between emotional extremes) that psychoanalysis helped her, although in , the unqualified, resistors, questions and doubts - about its real efficacy in alleviating the suffering dissect their causes or their ability to make the drama of human life even more terrible & ndash ; to recognize evil, guilt and conflict whose root, logically stuck in childhood, was the relationship with their father and cruel relatively little emotional, transporting it to the ground of sexuality (as usual), and therefore deal with them.
quite immersed in the work of Nin, condensing and focusing the conclusions instilled by his writings, one can say that both the romance with Henry and review sessions with dr. Allendy, released him on sexual and morally, or at least much guilt and pressure off of the discomfort that some doubts and contradictions - starting with its own personality - caused him , questioning them and seeing them so more rationally, despite the emotional outbursts that every now and then plunged, and the crisis of disbelief directed to psychoanalysis, that in fact "saved" by itself no , nor is as unswerving in their theses or undisputed, moreover applied to each patient according to their individuality and with the awareness that treatment is based on assumptions launched ated as if he is left naked and bare by the psychoanalyst, as common sense designs. ¹
not appreciate so much for this classification often engender an irreconcilable dichotomy between art cinema considered and so-called commercial cinema, this terminology often imbued with connotation ; the derogatory or cynical about the potential (large) artistic qualities that a work of cinema Maistre may submit, but the term is more appropriate than the current meeting to define it (if you used the qualifications the "alternative" for example, do not have the same effect of defining "class" film and not be at all true, considering the characteristics and the pretensions of an alternative cinema said or selftitled) .
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