Anaïs Nin citáty

page 10

„Každý priateľ v nás predstavuje svet, ktorý sa zrodil až po jeho príchode, a len vďaka takýmto stretnutia sa rodia nové svety.“

„Neexistuje jeden veľký vesmírny zmysel pre všetkých, existuje len zmysel, ktorý každý z nás dáva svojmu životu.“

„Sen ma stále predbiehal. Dobehnúť ho, prežiť chvíľu v jednote, to bol zázrak.“

„Vlastníctvo vedomostí nezabíja zmysel pre úžas a záhadu. Vždy je tu viac záhad.“

„Život sa zmenšuje alebo rozširuje podľa odvahy.“

„Láska nikdy nezomrie na prirodzenú smrť. Zomiera, pretože nevieme, ako doplniť jej zdroj. Zomiera zo slepoty, chýb a zrád. Zomiera na choroby a rany; zomiera na únavu, chvenie, poškvrnenie.“

„Veci nevidíme také aké sú, ale také, akí sme my.“

„Aká je zlá situácia, keď žena očakáva, že muž postaví svet, ktorý chce, namiesto toho, aby ho vytvorila sama?“

„Existujú dva spôsoby, ako sa ku mne dostať: cez bozky alebo cez predstavivosť. Ale existuje aj hierarchia: samotné bozky nefungujú.“

„Hlboko prežívaný osobný život sa vždy rozširuje o pravdy, ktoré ho presahujú.“

„Sny prechádzajú do reality činov. Z činov opäť vychádza sen a táto vzájomná závislosť vytvára najvyššiu formu života.“

„Prišiel deň, keď riziko, že zostaneš pevne v zárodku, je bolestivejšie ako riziko, že rozkvitneš.“

“You are so terribly nimble, so clever. I distrust your cleverness. You make a wonderful pattern, everything is in its place, it looks convincingly clear, too clear. And meanwhile, where are you? Not on the clear surface of your ideas, but you have already sunk deeper, into darker regions, so that one only thinks one has been given all your thoughts, one only imagines you have emptied yourself in that clarity. But there are layers and layers — you're bottomless, unfathomable. Your clearness is deceptive. You are the thinker who arouses most confusion in me, most doubt, most disturbance.”

“For me, the adventures of the mind, each inflection of thought, each movement, nuance, growth, discovery, is a source of exhilaration.”

“Everything but happiness is neurosis.”

“I need a place where I can shout and weep. I have to be a Spanish savage at some time of the day. I record here the hysteria life causes in me. The overflow of an undisciplined extravagance. To hell with taste and art, with all contractions and polishings. Here I shout, I dance, I weep, I gnash my teeth, I go mad — all by myself, in bad English, in chaos. It will keep me sane for the world and for art.”

“Because so many of our writers were born in ugly environments, in monstrous poverty and humilitation, they continue to assert that this is the natural environment, reality, and that beauty is artifice. Why should the natural state be ugliness? Natural to whom? We may be born in ugliness, but the natural consequences should be a thirst for its opposite. To mistake ugliness for reality is one of the frauds of the realistic school. A hunger for the unknown, and an aspiration towards beauty were inseparable from civilization. In America the word art was distorted to mean artificial.
We are born with the power to alter what we are given at birth.
When the Japanese paint flowers or the sea on a kimono they mean to establish a link with nature. But they select only what is beautiful in nature to maintain their love of life.
The creative personality never remains fixed on the first world it discovers. It never resigns itself to anything. That is the deepest meaning of rebellion, not the wearing of different clothes, haircuts, or the adopting of other cultures.”

“One handles truths like dynamite. Literature is one vast hypocrisy, a giant deception, treachery. All writers have concealed more than they revealed.
But paradoxically, we create fiction out of human concern for the victims of the revelations. This concern is at the root of literature.”

“There is not one big cosmic meaning for all, there is only the meaning we each give to our life.”