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Additional info for Anaïs Nin Literary Perspectives
In the fiction, the Djuna character justifies her infidelities by reasoning that in order to love Rango in one chamber of the heart, she must not necessarily destroy another chamber which had been occupied by Paul. The transmutation of Gonzalo More into Rango is another case of transmutation into the 'bigger thing'. Regardless of the elaboration of the passionate affair in the unexpurgated diary Fire (the title of which alludes to Gonzalo ), the expurgated diary made it quite clear that Nin had worked on the transformation of the person into a persona.
It can be argued, therefore, that only through art did she reach the larger truths she had not found in her life-experience. The image of the mirror that distorts is an apt one for Nin's fiction, which alters the truth in order to reach another level of reflection. The struggle between the masquerade and the truth eventually found its resolution in her theory of fiction, where she overtly acknowledged her own technique of art as being the transcription or transplanting of life facts. Every bit of life-fact could be transformed into artifacts, on a plane of larger dimensions.
All that we write is, in some ways, a letter. This was true for Anai:s. Why not make your preface a letter to Anai:s? Would you entrust such a letter to anybody else? Knowing you, I think not. Would you let me help you if necessary? I must encourage you to do so. I cannot bear the thought of your not doing so. Don't think it has been easy for me to write this letter, or the two prefaces, or to contemplate writing a book called 'Anai:s my sister' which will be based on her letters to me. And yet I feel that I must for I know that no one can say for me what I have to say.