Delta of Venus, by
Anais NinDelta of VenusTo understand this book, I can add nothing better than what Anais Nin wrote in the Preface. This is a quote:
Preface
[April, 1940]
A book collector offered Henry Miller a hundred dollars a month to write erotic stories. It seemed Dantesque punishment to condemn Henry to write erotica at a dollar a page. He rebelled because his mood of the moment was the opposite of Rabelaisian, because writing to order was a castrating occupation, because to be writing with a voyeur at the keyhole took all the spontaneity and pleasure out of his fanciful adventures.
[December, 1940]
Henry told me about the collector…..
When Henry needed money for his travel expenses he suggested that I do some writing in the interim. I felt I did not want to give anything genuine, and decided to create a mixture of stories I had heard and inventions, pretending they were from the diary of a woman. I never met the collector. He was to read my pages and to let me know what he thought. Today I received a telephone call. A voice said, “It is fine. But leave out the poetry and descriptions of anything but sex. Concentrate on sex.”
So I began to write tongue in cheek, to become outlandish, inventive, and so exaggerated that I thought he would realize I was caricaturing sexuality. But there was no protest. I spent days in the library studying the Kama Sutra, listened to friends’ most extreme adventures.
“Less poetry,” said the voice over the telephone. “Be specific.” But did anyone ever experience pleasure from reading a clinical description? Didn’t the old man know how words carry colors and sounds into the flesh?
Every morning after breakfast I sat down to write my allotment of erotica. One morning I typed: “There was a Hungarian adventurer…” I gave him many advantages: beauty, elegance, grace, charm, the talents of an actor, knowledge of many tongues, a genius for intrigue, a genius for extricating himself from difficulties, and a genius for avoiding permanence and responsibility.
Another telephone call: “The old man is pleased. Concentrate on sex. Leave out the poetry.”
This started an epidemic of erotic “journals.” Everyone was writing up their sexual experiences. Invented, overheard, researched from Krafft-Ebing and medical books. We had comical conversations. We told a story and the rest of us had to decide whether it was true or false. Or plausible. Was this plausible? Robert Duncan would offer to experiment, to test our inventions, to confirm or negate our fantasies. All of us needed money, so we pooled our stories.
I was sure the old man knew nothing about the beatitudes, ecstasies, dazzling reverberations of sexual encounters. Cut out the poetry was his message. Clinical sex, deprived of all the warmth of love – the orchestration of all the senses, touch, hearing, sight, palate; all the euphoric accompaniments, background music, moods, atmosphere, variations – forced him to resort to literary aphrodisiacs.
We could have bottled better secrets to tell him, but such secrets he would be deaf to. But one day when he reached saturation, I would tell him how he almost made us lose interest in passion by his obsession with the gestures empty of their emotions, and how we reviled him, because he almost caused us to take vows of chastity, because what he wanted us to exclude was our own aphrodisiac – poetry.
I received one hundred dollars for my erotica. Gonzalo needed cash for the dentist, Helba needed a mirror for her dancing, and Henry money for his trip. Gonzalo told me the story of the “Basque and Bijou, and I wrote it down for the collector.
[February, 1941]
The telephone bill was unpaid. The net of economic difficulties was closing in on me. Everyone around me irresponsible, unconscious of the shipwreck. I did thirty pages of erotica.
I again awakened to the consciousness of being without a cent and telephoned the collector. Had he heard from his rich client about the last manuscript I sent? No, he had not, but he would take the one I had just finished and pay me for it. Henry had to see a doctor. Gonzalo needed glasses. Robert came with B. and asked me for money to go to the movies. The soot from the transom window fell on my typing paper and on my work. Robert came and took away my box of typing paper.
Wasn’t the old man tired of pornography? Wouldn’t a miracle take place? I began to imagine him saying: “Give me everything she writes, I want it all, I like all of it. I will send her a big present, a big check for all the writing she has done.” My typewriter was broken. With a hundred dollars in my pocket I recovered my optimism. I said to Henry: “The collector says he likes simple, unintellectual women – but he invites me to dinner.”
I had a feeling that Pandora’s box contained the mysteries of woman’s sensuality, so different from man’s and for which man’s language was inadequate. The language of sex had yet to be invented. The language of the senses was yet to be explored. D.H. Lawrence began to give instinct to a language, he tried to escape the clinical, the scientific, which only captures what the body feels.
[October, 1941]
When Henry came he made several contradictory statements. That he could live on nothing, that he felt so good he could even take a job, that his integrity prevented him from writing scenarios in Hollywood. At last I said: “And what of the integrity of doing erotica for money?” Henry laughed, admitted the paradox, the contradictions, laughed and dismissed the subject.
France has had a tradition of literary erotic writing, in fine, elegant style. When I first began to write for the collector I thought there was a similar tradition here, but found none at all. All I had seen was shoddy, written by second-rate writers. No fine writer seemed ever to have tried his hand at erotica.
I told George Barker how Caresse Crosby, Robert, Virginia Admiral and others were writing. It appealed to his sense of humor. The idea of my being the madam of this snobbish literary house of prostitution, from which vulgarity was excluded. Laughing, I said: “I supply paper and carbon, I deliver the manuscript anonymously, I protect everyone’s anonymity. George Barker felt this was much more humorous and inspiring than begging, borrowing or cajoling meals out of friends.
I gathered poets around me and we all wrote beautiful erotica. As we were condemned to focus only on sensuality, we had violent explosions of poetry. Writing erotica became a road to sainthood rather than to debauchery.
Harvey Breit, Robert Duncan, George Barker, Caresse Crosby, all of us concentrating our skills in a tour de force, supplying the old man with such an abundance of perverse felicities, that now he begged for more.
The homosexuals wrote as if they were women. The timid ones wrote about orgies. The frigid ones about frenzied fulfillments. The most poetic ones indulged in pure bestiality and the purest ones in perversions. We were haunted by the marvelous tales we could all tell. We sat around, imagined this old man, talked of how much we hated him, because he would not allow us to make a fusion of sexuality and feeling, sensuality and emotion.
[December, 1941]
George Barker was terribly poor. He wanted to write more erotica. He wrote eighty-five pages. The collector thought they were too surrealistic. I loved them. His scenes of lovemaking were disheveled and fantastic. Love between two trapezes.
He drank away the firs t money, and I could not lend him anything but more paper and carbons. George Barker, the excellent English poet, writing erotica to drink, just as Utrillo painted paintings in exchange for a bottle of wine. I began to think about the old man we all hated. I decided to write to him, address him directly, tell him about our feelings.
“Dear Collector: We hate you. Sex loses all its power and magic when it becomes explicit, mechanical, overdone, when it becomes a mechanistic obsession. It becomes a bore. You have taught us more than anyone I know how wrong it is not to mix it with emotion, hunger, desire, lust, whims, caprices, personal ties, deeper relationships that change its color, flavor, rhythms, intensities.
“You do not know what you are missing by your microscopic examination of sexual activity to the exclusion of aspects which are the fuel that ignites it. Intellectual, imaginative, romantic, emotional. This is what gives sex its surprising textures, its subtle transformations, its aphrodisiac elements. You are shrinking your world of sensations. You are withering it, starving it, draining its blood.
“If you nourished your sexual life with all the excitements and adventures which love injects into sensuality, you would be the most potent man in the world. The source of sexual power is curiosity, passion. You are watching its little flame die of asphyxiation. Sex does not thrive on monotony. Without feeling, inventions, moods, no surprises in bed. Sex must be mixed with tears, laughter, words, promises, scenes, jealousy, envy, all the spices of fear, foreign travel, new faces, novels, stories, dreams, fantasies, music, dancing opium, wine.
“How much do you lose by this periscope at the tip of your sex, when you could enjoy a harem of distinct and never-repeated wonders? No two hairs alike, but you will not let us waste words on a description of hair; now two odors, but if we expand on this you cry, “Cut the poetry.” No tow skins with the same texture, and never the same light, temperature, shadows, never the same gesture; for a lover, when he is aroused by true love, can run the gamut of centuries of love lore. What a range, what changes of age, what variations of maturity and innocence, perversity of art…
“We have sat around for hours and wondered how you look. If you have closed your senses upon silk, light, color, odor, character, temperament, you must be by now completely shriveled up. There are so many minor senses, all running tributaries into the mainstream of sex, nourishing it. Only the united beat of sex and heart together can create ecstasy.”
POSTSCRIPT
At the time we were all writing erotica at a dollar a page, I realized that for centuries we had had only one model for this literary genre – the writing of men. I was already conscious of a difference between the masculine and feminine treatment of sexual experience. I knew that there was a great disparity between Henry Miller’s explicitness and my ambiguities – between his humorous, Rebelaisian view of sex and my poetic descriptions of sexual relationships in the unpublished portions of the diary. As I wrote in volume three of the Diary, I had a feeling that Pandora’s box contained the mysteries of woman’s sensuality, so different from man’s and for which man’s language was inadequate.
Women, I thought, were more apt to fuse sex with emotion, with love, and to single out one man rather than be promiscuous. This became apparent to me as I wrote the novels and the Diary, and I saw it even more clearly when I began to teach. But although women’s attitude towards sex was quite distinct from that of men, we had not yet learned how to write about it.
Here in the erotica, I was writing to entertain, under pressure from a client who wanted me to “leave out the poetry.” I believed that my style was derived from a reading of men’s works. For this reason I long felt that I had compromised my feminine self. I put the erotica aside. Rereading it these many years later, I see that my own voice was not completely suppressed. In numerous passages I was intuitively using a woman’s language, seeing sexual experience from a woman’s point of view. I finally decided to release the erotica for publication because it shows the beginning efforts of a woman in a world that had been the domain of men. If the unexpurgated version of the Diary is ever published, this feminine point of view will be established more clearly. It will show that women (and I, in the Diary) have never separated sex from feeling, from love of the whole man.
Anaias Nin
Los Angeles
September, 1976
My Thoughts:
This book contains fifteen erotic vignettes. By today's standards, they are quite mild erotica. Remember that Nin wrote them in 1940-41. The thing that strikes me about these erotic vignettes is that they are so well written, containing developed characters and interesting stories. They contain emotional connection, which was so important to Nin in her feelings and in her writing.
