By Anaïs Nin
Even supposing Anais Nin present in her diaries a profound mode of self-creation and confession, she couldn't exhibit this intimate list of her personal stories in the course of her lifetime. as an alternative, she became to fiction, the place her tales and novels grew to become inventive "distillations" of her mystery diaries. A secret agent in the home of affection, whose heroine Sabina is deeply divided among her force for inventive and sexual expression, at the one hand, and social regulations and self-created inhibitions, at the different, echoed Nin's own fight with intercourse, love, and emotional fragmentation. Written whilst Nin's personal lifestyles was once taut with conflicting loyalties, her protagonist Sabina again and again asks herself, can one bask in one's sensual restlessness, the fantasies, the relentless want for event with no devastating outcomes?
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Additional info for A Spy in the House of Love
Bawer hides his assimilationism—and hence his own regulatory tendency—behind a declared belief in diversity. He writes: “It [the gay subculture] believes there are correct and incorrect ways of being gay” (38). But The Contextual Framework 29 so does Bawer—indeed, spelling out his own view of the correct way to be gay is the entire purpose of his book. When he speaks of “a spectrum of gay ‘lifestyles’” (33) and attempts to give some indication of its range, we are left in no doubt as to which end of the spectrum wins his approval.
Moreover, Philip, Leavitt’s protagonist in The Lost Language of Cranes, is not a subculture-oriented gay, and his coming-out story very much includes his middle-class parents, Owen and Rose. Indeed, it has been argued that Rose, who learns in the course of the narrative that both her son and her husband are gay, is the emotional center of the novel (Woodhouse 145–55). She is certainly the most vulnerable of these three characters, and her plight dominates much of the action. The attentions of the novel are thus generally directed at the concerns of a mainstream readership, and away from those of the subculture.
He writes of the frustration of “being made to feel . . that one must think and dress and act in a certain way . . have certain artistic interests and political views and a certain sense of humor, and that, if one does not, one is a traitor to one’s kind” (43). It is important to stress, however, that Bawer and the queer radicals reach their critical standpoints from quite different bases. After all, Bawer’s concern here is not so much with loss of individuality (he seems to have no objection to the regulatory and disciplinary power of the heterosexual mainstream) as with attachment to an oppositional political grouping.
A Spy in the House of Love by Anaïs Nin