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“When we blindly adopt a religion, a political system, a literary dogma, we become automatons.”
― Anaïs Nin, The Diary of Anaïs Nin, Vol. 4: 1944-1947

“The secret of a full life is to live and relate to others as if they might not be there tomorrow, as if you might not be there tomorrow. It eliminates the vice of procrastination, the sin of postponement, failed communications, failed communions. This thought has made me more and more attentive to all encounters. meetings, introductions, which might contain the seed of depth that might be carelessly overlooked. This feeling has become a rarity, and rarer every day now that we have reached a hastier and more superficial rhythm, now that we believe we are in touch with a greater amount of people, more people, more countries. This is the illusion which might cheat us of being in touch deeply with the one breathing next to us. The dangerous time when mechanical voices, radios, telephones, take the place of human intimacies, and the concept of being in touch with millions brings a greater and greater poverty in intimacy and human vision.”
― Anaïs Nin, The Diary of Anaïs Nin, Vol. 4: 1944-1947

“The important task of literature is to free man, not to censor him, and that is why Puritanism was the most destructive and evil force which ever oppressed people and their literature: it created hypocrisy, perversion, fears, sterility.”
― Anaïs Nin, The Diary of Anaïs Nin, Vol. 4: 1944-1947

“The real wonders of life lie in the depths. Exploring the depths for truths is the real wonder which the child and the artist know: magic and power lie in truth.”
― Anaïs Nin, The Diary of Anaïs Nin, Vol. 4: 1944-1947

“The physical as a symbol of the spiritual world. The people who keep old rags, old useless objects, who hoard, accumulate: are they also keepers and hoarders of old ideas, useless information, lovers of the past only, even in its form of detritus?…I have the opposite obsession. In order 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. I keep nothing to remind me of the passage of time, deterioration, loss, shriveling.”
― Anaïs Nin, The Diary of Anaïs Nin, Vol. 4: 1944-1947

“I am more interested in human beings than in writing, more interested in lovemaking than in writing, more interested in living than in writing. More interested in becoming a work of art than in creating one.”
― Anaïs Nin, The Diary of Anaïs Nin, Vol. 4: 1944-1947

“The theme of the diary is always the personal, but it does not mean only a personal story: it means a personal relationship to all things and people. The personal, if it is deep enough, becomes universal, mythical, symbolic; I never generalize, intellectualise. I see, I hear, I feel. These are my primitive elements of discovery.

Music, dance, poetry and painting are the channels for emotion. It is through them that experience penetrates our bloodstream.”
― Anaïs Nin, The Diary of Anaïs Nin, Vol. 4: 1944-1947

“You must not fear, hold back, count or be a miser with your thoughts and feelings. It is also true that creation comes from an overflow, so you have to learn to intake, to imbibe, to nourish yourself and not be afraid of fullness. The fullness is like a tidal wave which then carries you, sweeps you into experience and into writing. Permit yourself to flow and overflow, allow for the rise in temperature, all the expansions and intensifications. Something is always born of excess: great art was born of great terrors, great loneliness, great inhibitions, instabilities, and it always balances them. If it seems to you that I move in a world of certitudes, you, par contre, must benefit from the great privilege of youth, which is that you move in a world of mysteries. But both must be ruled by faith.”
― Anaïs Nin, The Diary of Anaïs Nin, Vol. 4: 1944-1947

“I walk into the fire always, and come out more alive.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“We celebrate peace. Yet we pay no attention to the ways of curing aggression in human beings. And when one sees in psychoanalysis hostility disappearing as people conquer their fears, one wonders if the cure is not there.”
― Anaïs Nin, The Diary of Anaïs Nin, Vol. 4: 1944-1947

“Touched bottom again. Decided to liberate myself... We are never trapped unless we choose to be.”
― Anaïs Nin, The Diary of Anaïs Nin, Vol. 4: 1944-1947

“It is undeniable that the source of all our miseries comes from our obstinacy in maintaining that Paradise is a garden. The psychoanalysts have added to the confusion by interpreting the floating dreams as a flight into space. The mystic is the only one who knows that all states of ecstasy are a state of floating in an ambiance more heavy than air. Paradise is at the bottom of the sea, and I can also prove to you that angels are ships. They have no wings but large sails which they unfold noiselessly at night to cross eternity.”
― Anaïs Nin, The Diary of Anaïs Nin, Vol. 4: 1944-1947

“Behind my romanticism lies a primitive woman with primitive hungers.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“Nothing endures," said Varda, "unless it has first been transposed into a myth.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“Strangely enough, I can forgive many things, many acts, many treacheries, many forms of selfishness, exploitation, anything except ugliness in the vision I call cynicism. I think the cynic is the one who projects his inner ugliness onto others. That one trait alienates me completely.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“Death from disillusion is not instantaneous, and there are no mercy killers for the disillusioned. Because when those who seek to help you merely indicate that your are dreaming, that you are caught in illusion, you can answer truthfully; I am planning and designing the future.
What is the difference between the fragmentation I see around me, and the plurality the German writer Novalis considered a sign of genius.
Is it that rich personalities have many aspects, but do not fall apart?”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“I am still in the labyrinth, and I must be willing to get lost before I am saved. It is only when I abandon myself that I am saved.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“We do not grow absolutely, chronologically. We grow sometimes in one dimension, and not in another, unevenly. We grow partially. We are relative, and future mingle and pull us backward, forward, or fix us in the present. We are made up of layers, cells, constellations. We never discard our childhood. We never escape it completely. We relive fragments of it through others. We live buried layers through others. We live through others' projections of the unlived selves.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“In maturity, the child is known and amalgamated to the man or woman, integrated with the adult. But a child who has not received enough mothering or fathering will later seek the child in others and give to them what he lacked.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“You are good for me." I did not say: "But you are not good for me. You kill my naturalness and joy.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“No one can live with only a clinical, psychological, or historical vision of the world. There must be a capacity to recreate, renovate, renew... too much lucidity creates a desert, and one has to find water again, to replant, reseed.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“I felt the prime morality of literature should be to teach how to live, expand physically and mentally, how to experience, see, hear, feel, and give birth simultaneously to the soul and body.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“They acted out for me that I refused myself the freedom to act out. The were both totally irresponsible, rebellious, anarchic, and lived only for their own freedom of action. As all their freedoms were unacceptable to me, and I felt overresponsible for the car of others (beginning with my deserted mother, my abandoned brothers and so on), I lived this out through them. And I was there to prevent them from suffering the consequences.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“Dr. Harding portrayed this shadow mechanism as a necessary defense against the unknown, since to take up in consciousness the undomesticated patterns of the psych is to drive one's self into rebellion against society. But one can grow in psychic stature only in proportion as one assimilates the consequences of self-acceptance.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“If intellect has killed writing, then let the other kind of writing, emotional, kill the intellect.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“I never see perversion, but rather a childlike quality, a pause in childhood or adolescence when one hesitates to enter the adult world. The relationship based on identification, on twinship, or “the double,â€� on narcissism, is a choice more facile and less exigent then that between men and women. It is almost incestuous, like a family kinship.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“To celebrate the opening of Angelo’s café, we were invited to come in disguise. It was difficult to find odds and ends to make costumes out of, in the empty castle, with a wardrobe out of a valise intended for minimum necessities. There were no curtains, no draperies, no paints, no textiles. We did the best we could. I dressed John’s wife: from the waist up she was a nun, in brown chiffon, with a cross on her breast. Below was the same chiffon, trailing to the floor, but without a slip underneath, so her legs could be seen in silhouette.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“He cut into all the legendary textiles of the world—damask of the Medicis, oyster-white of Greek robes, the mixed gold-and-blue of Venetian brocades, the midnight-blue wool of Peru, the sand colors of African cottons, the transparent muslins of India—to give birth to women who only appear to men asleep. His women became comets, trailing long nebulous trains. Erratic members of the solar system. He gave only the silver scale of their mermaid moods, the sea-shell rose of their ear lobes, corollas, pistils, light as wings. He housed them in façades of tent shelters which could be put up for a moment, then folded and made to vanish when desire expired.

‘Nothing endures,â€� said Varda, ‘unless it has first been transposed into a myth.”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947

“I will never settle down, never have a home. My symbol is a roving ship. I am a writer. I would rather have been a courtesan. the rest is in the diary”
― Anaïs Nin, The Diary of Anaïs Nin Volume 4 1944-1947