I thought I’d redress the balance with an altogether unplatonic mount, namely one that recalls the Western Union Telegraph Company, a.k.a. the Cosmodemonic Telegraph Company, Henry Miller’s employer in his Tropic of Capricorn... unplatonic because I can’t remember, frankly, any relationship in the Anaïs Nin-Henry Miller axis that was not full blooded carnality, including Nin’s (alleged) seduction by her own father.
Please stifle that yawn. We are perfectly aware your palate is too jaded to recognise any new piquancy but should you ever be seeking in a desultory sort of way a rôle model for that rare oxymoron, a feminist bigamist, the name of Anaïs Nin will satisfy that want.
Curiously, one learns, an unlikely friend and admirer of Henry Miller in Paris was the iconoclast George Orwell . . . see my Grim Secrets of Room 101 . . .
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Catherine Eisner believes passionately in plot-driven suspense fiction, a devotion to literary craft that draws on studies in psychoanalytical criminology and psychoactive pharmacology to explore the dark side of motivation, and ignite plot twists with unexpected outcomes. Within these disciplines Eisner’s fictions seek to explore variant literary forms derived from psychotherapy and criminology to trace the traumas of characters in extremis. Compulsive recurring sub-themes in her narratives examine sibling rivalry, rivalrous cousinhood, pathological imposture, financial chicanery, and the effects of non-familial male pheromones on pubescence,
see Eisner’s Sister Morphine (2008)
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