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France Is Free: Anaïs Nin and Ernest Hemingway on the Liberation of Paris, August 19, 1944

“One is stunned before catastrophe, one is stunned by happiness, by peace, by the knowledge of millions of people free from pain and death.”

On August 19, 1944, the Liberation of Paris commenced, marking the beginning of the end of World War II in France. Six days later, on August 25, the occupying German garrison surrendered. That week, in a journal entry found in The Diary of Anais Nin, Vol. 4: 1944-1947 (public library) — which also gave us Nin on the meaning of life, why emotional excess is essential to creativity, how our objects define us, and how inviting the unknown helps us live more richly — the beloved diarist and reconstructionist breaks out of her usual contemplative lyricism and explodes with gorgeous, unfiltered human exuberance over the end of one of history’s greatest inhumanities:

Liberation of France!

JOY. JOY. JOY. JOY. JOY. JOY. JOY. JOY. JOY.

Such joy, such happiness at the hope of war ending. Happiness in unison with the world. Delirious happiness.

At such times we are overwhelmed by a collective joy. We feel like shouting, demonstrating in the street. A joy you share with the whole world is almost too great for one human being. One is stunned before catastrophe, one is stunned by happiness, by peace, by the knowledge of millions of people free from pain and death.

August, 1944: American soldiers watch as the Tricolor flies from the Eiffel Tower again. (Image: National Archives)

That same day, Ernest Hemingway — who had been living in Paris as one of the Lost Generation’s famous expats, among whom were Gertrude Stein and F. Scott Fitzgerald — waged a different kind of liberation effort. The Ritz hotel and its famed bar, which Hemingway had come to love as a home and an idyllic drinking spot during his pre-war reign in Paris, had been co-opted as the quarters of German generals in 1940. So, on this fateful August day, Hemingway — arguably the world’s best-known living writer at the time — donned a steel helmet, mounted an army jeep in the dirt roads of the French countryside, and led his small private army as they set out to “liberate” the Ritz.

From Ernest Hemingway: Selected Letters 1917-1961 (public library) comes this missive Papa sent to his soon-to-be fourth wife, Mary Welsh, offering a much grittier but no less emotionally charged account than Nin’s:

On nineteenth [of August, 1944], made contact with group of Maquis who placed themselves under my command. Because so old and ugly looking I guess. Clothed them with clothing of cavalry recon outfit which had been killed at entrance to Rambouillet. Armed them from Div. Took and held Rambouillet after our recon withdrawn. Ran patrols and furnished gen [intelligence] to French when they advanced. They operated on our gen with much success. Entered Paris by Etoile and Concorde. Fought outfit several times. They did very well. Now very tired. Fortunately in phase of advance Rambouillet Paris had official war historian with us. Otherwise everyone would think was damned lie. Most operation chickenshit as to fighting. But could been bad. Now have rejoined division but have to try to write piece tomorrow. Then will put my people under div orders. Very fine peoples. But temperamental. . . .

I was very scared twice when we were holding (sic) screening, or simply furnishing contact is word, that town with 15 kraut tanks, and 52 cyclists as opposition. Some of the patrols we made would scare you worse than Grimm’s Fairy Tales even if there had been no Krauts [ed: What Hemingway called the Germans]. We checked on tanks with bicycles. Would like to drag down but guess will have to let things ride.

August, 1944: Ernest Hemingway in France with Col. David Bruce at the far left and unidentified companions. (Image: Ernest Hemingway Photograph Collection, JFK Library, Boston)

After a few lines of almost incongruously placed romantic flirtations, Hemingway returns to the war and adds:

Have strong feeling my luck has about run out but am going to try to pass a couple of more times with dice. Have been to all the old places I ever lived in Paris and everything is fine. But it is all so improbable that you feel like you have died and it is all a dream.

(As charmingly deranged as all of this may be, of course, it comes as wholly unsurprising given Hemingway’s penchant for sorting out his emotional vulnerabilities with shotguns.)

Complement with Henry Miller, Nin’s longtime lover and literary confidante, on war and the future of humanity.

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Anaïs Nin on Real Love, Illustrated by Debbie Millman

“Where the myth fails, human love begins. Then we love a human being, not our dream, but a human being with flaws.”

To celebrate beloved author and dedicated diarist Anaïs Nin, here is the second installment in my ongoing collaboration with author, artist, philosopher, design interviewer extraordinaire Debbie Millman, based on a 1941 entry from The Diary of Anaïs Nin, Vol. 3: 1939-1944 (public library). Like our first collaboration, this beautiful typographic collage drawing is based on one of Nin’s most timeless insights on love, culled from her many volumes of diaries and her love letters with Henry Miller. Like last time, the artwork is available on Society6, with 100% of proceeds benefiting A Room of Her Own, a foundation supporting women writers and artists. Enjoy:

Complement this beauty with Nin’s timeless meditations on the meaning of life, Paris vs. New York, embracing the unfamiliar, and why emotional excess is essential to creativity.

See more of Debbie’s beautiful visual essays and poems online and in print, and follow her on Twitter.

Previous Brain Pickings artist series have included Susan Sontag on art and on love by Wendy MacNaughton, Anaïs Nin on life by Lisa Congdon, and Salvador Dalí’s “My Struggle” by Molly Crabapple.

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In Defense of the Fluid Self: Why Anaïs Nin Turned Down a Harper’s Bazaar Profile

“I am more interested in human beings than in writing, more interested in lovemaking than in writing, more interested in living than in writing.”

Celebrated diarist Anaïs Nin has been on heavy rotation here this year, but it is only because her daily private reflections reverberate with timeless, universal resonance. Nin’s gift for articulating the paradoxes and vulnerabilties of the human condition shines with exceptional brilliance in this particular entry found in The Diary of Anais Nin, Vol. 4: 1944-1947 (public library).

In December of 1946, Harper’s Bazaar editor Leo Lerman asked Nin for a short auto-biography to use in a profile feature. She respectfully declined. Her letter to Lerman — disarmingly honest, brave and vulnerable at the same time — digs deep beneath the paralyzing discomfort many of us can relate to in being written about, in interviews and features and profiles, to uncover the shaky softnesses underpinning it: the struggle with anxiety, the anguish of having one’s sincerity mistaken for pretense, and above all the agony of being fossilized while still growing, a kind of violent rebellion against the myth of fixed personality.

anaisnin

Nin writes:

Dear Leo

[…]

I see myself and my life each day differently. What can I say? The facts lie. I have been Don Quixote, always creating a world of my own. I am all the women in the novels, yet still another not in the novels. It took me more than sixty diary volumes until now to tell about my life. Like Oscar Wilde I put only my art into my work and my genius into my life. My life is not possible to tell. I change every day, change my patterns, my concepts, my interpretations. I am a series of moods and sensations. I play a thousand roles. I weep when I find others play them for me. My real self is unknown. My work is merely an essence of this vast and deep adventure. I create a myth and a legend, a lie, a fairy tale, a magical world, and one that collapses every day and makes me feel like going the way of Virginia Woolf. I have tried to be not neurotic, not romantic, not destructive, but may be all of these in disguises.

It is impossible to make my portrait because of my mobility. I am not photogenic because of my mobility. Peace, serenity, and integration are unknown to me. My familiar climate is anxiety. I write as I breathe, naturally, flowingly, spontaneously, out of an overflow, not as a substitute for life. I am more interested in human beings than in writing, more interested in lovemaking than in writing, more interested in living than in writing. More interested in becoming a work of art than in creating one. I am more interesting than what I write. I am gifted in relationship above all things. I have no confidence in myself and great confidence in others. I need love more than food. I stumble and make errors, and often want to die. When I look most transparent is probably when I have just come out of the fire. I walk into the fire always, and come out more alive. All of which is not for Harper’s Bazaar.

I think life tragic, not comic, because I have no detachment. I have been guilty of idealization, guilty of everything except detachment. I am guilty of fabricating a world in which I can live and invite others to live in, but outside of that I cannot breathe. I am guilty of too serious, too grave living, but never of shallow living. I have lived in the depths. My first tragedy sent me to the bottom of the sea; I live in a submarine, and hardly ever come to the surface. I love costumes, the foam of aesthetics, noblesse oblige, and poetic writers. At fifteen I wanted to be Joan of Arc, and later, Don Quixote. I never awakened from my familiarity with mirages, and I will end probably in an opium den. None of that is suitable for Harper’s Bazaar.

I am apparently gentle, unstable, and full of pretenses. I will die a poet killed by the nonpoets, will renounce no dream, resign myself to no ugliness, accept nothing of the world but the one I made myself. I wrote, lived, loved like Don Quixote, and on the day of my death I will say: ‘Excuse me, it was all a dream,’ and by that time I may have found one who will say: ‘Not at all, it was true, absolutely true.’

The Diary of Anais Nin, Vol. 4: 1944-1947 also gave us Nin’s exquisite words on the role of emotional excess in creativity, her timely reflection on technology and the meaning of life, and her keen profile of architect Lloyd Wright.

Other Nin diary volumes have explored embracing the unfamiliar, Paris vs. New York, parenting and personal responsibility, the joy of handcraft and letterpress, the psychology of mass movements, and love.

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Anaïs Nin on Love, Hand-Lettered by Debbie Millman

“Anxiety is love’s greatest killer… It makes others feel as you might when a drowning man holds on to you.”

Revered as one of the most dedicated diarists in literary history, Anaïs Nin has given us a wealth of poetic and poignant meditations on life and the human condition. This first installment in an ongoing collaboration with creative polymath Debbie Millman — whose own poetic and poignant meditations you might recall from recent Literary Jukebox editions — captures one of Nin’s most timeless insights on love, culled from her many volumes of diaries and her love letters with Henry Miller. Drawn in Debbie’s singular style of artful lettering, the artwork is available on Society6, with proceeds benefiting A Room of Her Own, a foundation supporting women writers and artists. Enjoy:

UPDATE: Happy news! Part 2 of the series is now available.

Previous Brain Pickings artist series have included Susan Sontag on art and on love by Wendy MacNaughton, Anaïs Nin on life by Lisa Congdon, and Salvador Dalí’s “My Struggle” by Molly Crabapple.

See more of Debbie’s beautiful visual essays and poems online and in print, and follow her on Twitter.

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