阿内丝·尼恩

安荷拉·阿娜伊斯·胡安娜·安托莉娜·萝莎·艾德米拉·宁－居梅尔（法语：Angela Anaïs Juana Antolina Rosa Edelmira Nin y Culmell，1903年2月21日—1977年1月14日），知名美国作家，出生于法国。父母都是古巴裔，其中父亲祖辈为逃离法国大革命先到了北美，后落根古巴；母系有来自法国与丹麦血统。童年时她与家人穿梭于法国、古巴、西班牙。后来她归化为美国公民。尼恩9岁时父母离异，之后她辍学，曾短暂的当过模特。1923年与后来的电影制片人Hugo Guiler结婚。1924年夫妇二人在巴黎，结识亨利·米勒。米勒的作品对尼恩产生了很大影响，她还成为米勒长时间的情人。1940年法国沦陷后她到了美国。1947年与小她17岁的Rupert Pole秘密结合。

尼恩的作品多带有法国式的超现实主义风格，不过她主要以7卷本的《阿内丝·尼恩日记》而知名。这些日记的手稿约有35000页，现在保存在加州大学洛杉矶分校特藏部。其他一些作品包括一些色情故事，这些小说以露骨的方式描写性行为，《维纳斯三角洲》就是一个例子。《乱伦之屋》则是一部带有自传性质的作品。这些作品频繁的描写梦境和潜意识，明显受到西格蒙德·弗洛伊德和卡尔·荣格精神分析学的影响。她曾从师奥托·兰克学习精神分析，甚至短暂的从师于荣格本人。

Angela Anaïs Juana Antolina Rosa Edelmira Nin y Culmell ( AN-eye-EESS NEEN; French: [ana.is nin]; February 21, 1903 – January 14, 1977) was a French-born American diarist, essayist, novelist, and writer of short stories and erotica. Born to Cuban parents in France, Nin was the daughter of the composer Joaquín Nin and the classically trained singer Rosa Culmell. Nin spent her early years in Spain and Cuba, about sixteen years in Paris (1924–1940), and the remaining half of her life in the United States, where she became an established author.

Nin wrote journals prolifically from age eleven until her death. Her journals, many of which were published during her lifetime, detail her private thoughts and personal relationships. Her journals also describe her marriages to Hugh Parker Guiler and Rupert Pole, in addition to her numerous affairs with men and women, including the psychoanalyst Otto Rank and writer Henry Miller, both of whom profoundly influenced Nin and her writing.

In addition to her journals, Nin wrote several novels, critical studies, essays, short stories, and volumes of erotic literature. Much of her work, including the collections of erotica, was published posthumously amid renewed critical interest in her life and work. Nin spent her later life in Los Angeles, California, where she died of cervical cancer in 1977. She was a finalist for the Neustadt International Prize for Literature in 1976.

Early life

Anaïs Nin was born in Neuilly, France, to Joaquín Nin, a Cuban pianist and composer, and Rosa Culmell, a classically trained Cuban singer. Her father's grandfather had fled France during the French Revolution, going first to Saint-Domingue, then New Orleans, and finally to Cuba, where he helped build the country's first railway.

Nin was raised a Roman Catholic but left the church when she was 16 years old. She spent her childhood and early life in Europe. Her parents separated when she was two; her mother then moved Nin and her two brothers, Thorvald Nin and Joaquín Nin-Culmell, to Barcelona, and then to New York City, where she attended high school. Nin dropped out of high school in 1919 at age sixteen, and according to her diaries, Volume One, 1931–1934, later began working as an artist's model. After being in the United States for several years, Nin had forgotten how to speak Spanish, but retained her French and became fluent in English.

On March 3, 1923, in Havana, Cuba, Nin married her first husband, American Hugh Parker Guiler (1898–1985), a banker and artist from Boston, later known as "Ian Hugo", when he became an experimental filmmaker in the late 1940s. The couple moved to Paris the following year, where Guiler pursued his banking career and Nin began to pursue her interest in writing; in her diaries she also mentions having trained as a flamenco dancer in Paris in the mid-to-late 1920s with Francisco Miralles Arnau. Her first published work was a critical 1932 evaluation of D. H. Lawrence called D. H. Lawrence: An Unprofessional Study, which she wrote in sixteen days.

Nin became interested in psychoanalysis and studied extensively, first with René Allendy in 1932 and then with Otto Rank. Both men eventually became her lovers, as she recounts in her Journal. On her second visit to Rank, Nin reflects on her desire to be reborn as a woman and artist. Rank, she observes, helped her move between what she could verbalize in her journals and what remained unarticulated. She discovered the quality and depth of her feelings in the wordless transitions between what she could and could not say. "As he talked, I thought of my difficulties with writing, my struggles to articulate feelings not easily expressed. Of my struggles to find a language for intuition, feeling, instincts which are, in themselves, elusive, subtle, and wordless."