Anaïs Nin has some of the most eloquent, honest quotes I have ever seen; her way of writing is an observation of life, love, and human interaction that is unabashedly lifelike that you immediately find yourself in her work, even if she is simply writing a passing thought in her diary documentations (also a great read, if you can find it).The most quotes I saw from her work came from "Ladders to Fire," which is the evolving story of a woman named Lillian who gains and loses many people and really finds herself constantly in a state of anxiety from comparing herself to others, over-thinking people's actions, and never quite knowing who she is or where she is comfortable. The two other main characters are her friend, Djuna (who is her voice of reason), and her boyfriend and/or love interest, Jay (who causes her much grief from his fear of commitment and his ability to spin bullshit into poetry that leaves Lillian more confused about herself). Several other characters are mentioned in passing glances or memories, some staying for a chapter or two to help with character development of Lillian, mostly, and the way that she tends to fall in love with anyone who gives her attention or is the embodiment of who she wishes she could be, but is too afraid to become due to the fact that she thinks it is more important to stay with Jay rather than find out who she could be without the hunger for love.The story is beautifully written and a very short read (only about 180 pages in my copy), and it can quite honestly be finished in a single sitting if you are uninterrupted. I personally identified with several parts of each character that came into play, and it both intrigued and saddened me, but much of the story helped me to think that perhaps the point was for me to see the extremes of character and take parts of each into my own development. It is one of those stories: the kind that makes you think "I know who I am, I'm like this character" when you start, and by the end you say "I can't believe they continue to do this. I see why this other character has this mindset; I should think more like them, instead." It's a good book to read through and learn from, given that it is more based on personal growth of every character and their interactions rather than whether or not anyone can stay in love. And as I said, Nin does have such phenomenal style in her writing, you won't be able to resist the way the story unfolds.
For me, reading this was like finally tasting some very particular kind of chocolate that I had suspected for years I would really enjoy, and then having it surpass my expectations. I can't believe no one has ever made me read Nin before; I couldn't put it down and it was entirely due to how she was writing, not the plot, which is a pretty rare occurrence in my reading life. There's a certain streak of violent heterosexuality that is disturbing but accurate; interesting explorations of femininity, masculinity, and female friendship/competition; and simply beautiful, unexpected, original metaphor. Prose poetry, basically. FYI, this book contains hella exoticizing, fetishizing, weird racist descriptions of people, starting in literally the first paragraph.
What do You think about Ladders To Fire (1959)?
Like all the other Anais Nin books I've read so far, this book has incredibly intense and neurotic relationships, quite unbelievable in a way. As always, Nin uses beautiful language (LOTS of metaphors and great vocabulary). It's hard for me to write a review that does any justice to Nin's works; it's like she goes digging deep into the human psyche, and uncovers things most people would never be able to do. That's one of the reasons I find her to be so fascinating.Still, as much as I enjoyed this book, this is definitely not her best work.
—Rowena
Read her journals. Most of the rest of what she wrote (well, at least her erotica) was just to make money. Any of her journals would show you the REAL Anais Nin, maybe start with Henry & June, that section is fantastic!!
—Tiffany
the four stars come with a little qualification: there were little snags for me at first, and at parts, because nin's deeply essentialist notions of women and men and how they relate sometimes amounts to descriptions of characters and situations that don't ressonate with me-- don't feel familiar and true. other times they do, perfectly. other times they do, terrifyingly. but the thing gains momentum, and at some point nin's writing becomes utterly translucent-- the author is refined out of existance and the thing is perfectly captured. anyway, after the first few pages, this book is a breeze and a dream, and it all culminates in a party, perfectly:"in each studio there is a human being dressed in the full regalia of his myth fearing to expore a vulnerable opening, spreading not his charms but his defences, plotting to disrobe, somewhere along the night-- his body without the aperture of the heart or his heart with a door closed to his body. thus keeping one compartment for refuge, one uninvaded cell."
—laura
