January 18, 2018

January 18

Filed under: Uncategorized — theresaurus @ 11:09 pm

The Diary of Anais Nin, Winter, 1931 – 1932.

“Louvenciennes resembles the village where Madame Bovary lived and died. It is old, untouched and unchanged by modern life. It is built on a hill overlooking the Seine. On clear nights one can see Paris. … Behind the windows of the village houses old women sit watching people passing by. The street runs down unevenly towards the Seine. By the Seine there is a tavern and a restaurant. On Sundays people come from Paris and have lunch and take the rowboats down the Seine as Maupassant loved to do.

“The dogs bark at night. The garden smells of honeysuckle in the summer, of wet leaves in the winter. One hears the whistle of the small train from and to Paris. … My house is two hundred years years old. It has walls a yard thick, a big garden, a very large green iron gate for cars, flanked by a small green garden for people. … Behind the house lies a vast wild tangled garden. … When I look at the large green iron gate from my window it takes on the air of a prison gate. An unjust feeling, since I know I can leave the place whenever I want to, and since I know that human beings can place upon an object, or a person, this responsibility of being the obstacle when the obstacle lies always within one’s self.

“I chose the house for many reasons. Because it seemed to have sprouted out of the earth like a tree, so deeply grooved it was within the old garden. It had no cellar and the rooms rested right on the ground. Below the rug, I felt, was the earth. I could take root here, feel at one with the house and garden, take nourishment from them like the plants. … I had a sense of preparation for a love to come. Like the extension of canopies, the unrolling of ceremonial carpets, as if I must first create a marvelous world in which to house it, in which to receive adequately this guest of honor. It is in this mood of preparation that I pass through the house, painting a wall through which stains of humidity show, hanging a lamp where it will throw Balinese shadow plays, draping a bed, placing logs in the fireplace. Every room is painted a different color. As if there were one room for every separate mood: lacquer red for vehemence, pale turquoise for reveries, peach color for gentleness, green for repose, grey for work at the typewriter.”


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