Anaïs Nin Quotes

Most popular Anaïs Nin Quotes

Adolescence is like cactus.
— Anaïs Nin (Seduction of the Minotaur)

adolescence

Dreams are necessary to life.
— Anaïs Nin
Jazz is the music of the body.
— Anaïs Nin (The Diary of Anaïs Nin, Vol. 5)

jazz

Hollywood is a mirage factory.
— Anaïs Nin (The Diary of Anaïs Nin)

Hollywood

What I cannot love, I overlook.
— Anaïs Nin
People living deeply have no fear of death.
— Anaïs Nin (The Diary of Anaïs Nin, 1934–1939)

death art of living

When one is pretending the entire body revolts.
— Anaïs Nin (Winter of Artifice)

pretense authenticity be yourself

The only abnormality is the incapacity to love.
— Anaïs Nin
Life shrinks or expands according to one's courage.
— Anaïs Nin
You live out the confusions until they become clear.
— Anaïs Nin
Guilt is the one burden human beings can't bear alone.
— Anaïs Nin (A Spy in the House of Love)

guilt

Compassion for our parents is the true sign of maturity.
— Anaïs Nin (The Diary of Anaïs Nin)

maturity compassion

What I cannot love, I overlook.  Is that real friendship?
— Anaïs Nin (The Diary of Anaïs Nin, 1947–1955)

friendship

Music melts all the separate parts of our bodies together.
— Anaïs Nin (Winter of Artifice)

music

Anxiety is love's greatest killer. It creates the failures.
— Anaïs Nin (The Diary of Anaïs Nin, 1944–47)

anxiety love

Mature people relate to each other without the need to merge.
— Anaïs Nin (The Diary of Anaïs Nin)

relationships maturity

The potion drunk by lovers is prepared by no one but themselves.
— Anaïs Nin (The Four-Chambered Heart)
Self-destructive patterns cause as much suffering as outer catastrophes.
— Anaïs Nin (The Diary of Anaïs Nin)

self-destructiveness

I must be a mermaid. I have no fear of depths and a great fear of shallow living.
— Anaïs Nin
I stopped loving my father a long time ago.  What remained was the slavery to a pattern.
— Anaïs Nin (Under a Glass Bell)

personal father

Beware of allowing a tactless word, a rebuttal, a rejection to obliterate the whole sky.
— Anaïs Nin (The Diary of Anaïs Nin)

tact

Art is the method of levitation, in order to separate one's self from enslavement by the earth.
— Anaïs Nin (The Diary of Anaïs Nin)

art

How wrong it is for a woman to expect the man to build the world she wants, rather than to create it herself.
— Anaïs Nin

men and women

There came a time when the risk to remain tight in the bud was more painful than the risk it took to blossom.
— Anaïs Nin

feminism

When we blindly adopt a religion, a political system, a literary dogma, we become automatons.  We cease to grow.
— Anaïs Nin (The Diary of Anaïs Nin, 1944–47)

religion and politics

I know perfectly well the cynic is a coward. He foresees all barrenness so that barrenness can never surprise him.
— Anaïs Nin (The Early Diary of Anaïs Nin, 1923–1927)

cynics

I take pleasure in my "transformations." I look quiet and consistent, but few know how many women there are in me.
— Anaïs Nin (Linotte, The Early Diary of Anaïs Nin, 1923–1927)

transformation

The dream was always running ahead of one. To catch up, to live for a moment in union with it, that was the miracle.
— Anaïs Nin
In every relationship, sooner or later, there is a court scene.  Accusations, counter-accusations, a trial, a verdict.
— Anaïs Nin (Collages)

relationships

There is an analogy between the bombardment of the atom and the bombardment of the personality by the method of analysis.
— Anaïs Nin

psychology

Each friend represents a world in us, a world possibly not born until they arrive, and it is only by this meeting that a new world is born.
— Anaïs Nin (The Diary of Anaïs Nin)

friendship

Dreams pass into the reality of action. From the action stems the dream again; and this interdependence produces the highest form of living.
— Anaïs Nin (The Diary of Anaïs Nin)

dreams action

Throw your dream into space like a kite, and you do not know what it will bring back, a new life, a new friend, a new love, or a new country.
— Anaïs Nin

dreams

The self is merely the lens through which we see others and the world, and if this lens is not clear of distortions, we cannot perceive others.
— Anaïs Nin (The Novel of the Future)

the self

You carry a part of my life. If I love you, it must be because we shared, at some moment, the same imaginings, the same madness, the same stage.
— Anaïs Nin
Writers do not live one life, they live two. There is the living and then there is the writing. There is the second tasting, the delayed reaction.
— Anaïs Nin

writing

Writers do not live one life, they live two.  There is the living and then there is the writing.  There is the second tasting, the delayed reaction.
— Anaïs Nin (The Diary of Anaïs Nin: 1931–1934)

writers

The imagination is far better at inventing tortures than life because the imagination is a demon within us and it knows where to strike, where it hurts.
— Anaïs Nin (Winter of Artifice)

imagination

A trite word is an overused word which has lost its identity like an old coat in a second-hand shop.  The familiar grows dull and we no longer see, hear, or taste it.
— Anaïs Nin (The Diary of Anaïs Nin)

words familiarity

Life is a process of becoming, a combination of states we have to go through.  Where people fail is that they wish to elect a state and remain in it.  This is a kind of death.
— Anaïs Nin (D. H. Lawrence: An Unprofessional Study)

life

There is not one big cosmic meaning for all, there is only the meaning we each give to our life, an individual meaning, an individual plot, like an individual novel, a book for each person.
— Anaïs Nin (The Diary of Anaïs Nin, 1934–1939)

individuality

Love never dies a natural death. It dies because we don't know how to replenish its source. It dies of blindness and errors and betrayals. It dies of illness and wounds; it dies of weariness, of witherings, of tarnishings.
— Anaïs Nin
There are few human beings who receive the truth complete and staggering, by instant illumination.  Most of them acquire it fragment by fragment, on a small scale, by successive developments, cellular, like a laborious mosaic.
— Anaïs Nin (The Diary of Anaïs Nin)

truth

I believe one writes because one has to create a world in which one can live....  I had to create a world of my own, like a climate, a country, an atmosphere in which I could breathe, reign, and re-create myself when destroyed by living.
— Anaïs Nin (The Diary of Anaïs Nin)

why I write

To change skins, evolve into new cycles, I feel one has to learn to discard. If one changes internally one should not continue to live with the same objects. They reflect one's mind and psyche of yesterday. I throw away what has no dynamic, living use.
— Anaïs Nin

change

Electric flesh arrows, a second wave of pleasure falls over the first, a third which touches every nerve end, and now the third like an electric current traversing the body.  A rainbow of color strikes the eyelids.  A foam of music falls over the ears.  It is the gong of the orgasm.
— Anaïs Nin (The Diary of Anaïs Nin, 1934–1939)

orgasms

Love never dies a natural death.  It dies because we don't know how to replenish its source, it dies of blindness and errors and betrayals.  It dies of illnesses and wounds, it dies of weariness, of witherings, of tarnishings, but never a natural death.  Every lover should be brought to trial as the murderer of his own love.
— Anaïs Nin (The Four-Chambered Heart)

love