A Spy in the House of Love Quotes

“The enemy of a love is never outside, it's not a man or a woman, it's what we lack in ourselves.”
― Anaïs Nin, A Spy in the House of Love

“At night too, she puzzled the mystery of her desperate need of kindness. As other girls prayed for handsomeness in a lover, or for wealth, or for power, or for poetry, she had prayed fervently: let him be kind.”
― Anaïs Nin, A Spy in the House of Love

“I prefer empty cages, Sabina, until I find a unique bird I once saw in my dreams.”
― Anaïs Nin, A Spy in the House of Love

“At first she beckoned and lured one into her world; then, she blurred the passageways, confused all the images, as if to elude detection.”
― Anaïs Nin, A Spy in the House of Love

“She had lost herself somewhere along the frontier between her inventions, her stories, her fantasies and her true self. The boundaries had become effaced, the tracks lost, she had walked into pure chaos, and not a chaos which carried her like the galloping of romantic riders in operas and legends, but which suddenly revealed the stage props: a papier-mâché horse.”
― Anaïs Nin, A Spy in the House of Love

“I believe that in judging our actions we are more severe than professional judges. We judge not only our actions, but our thoughts, our intentions, our secret curses, our hidden hate.”
― Anaïs Nin, A Spy in the House of Love

“At sixteen, Sabina took moon baths—first of all, because everyone else took sun baths, and second, she admitted, because she had been told it was dangerous.”
― Anaïs Nin, A Spy in the House of Love

“You haven't loved yet," he said. "You've only been trying to love; beginning to love. Trust alone is not love, illusion is not love, desire alone is not love. All these were paths leading you out of yourself, it is true, and so you thought they led to another, but you never reached the other. You were only on the way.”
― Anaïs Nin, A Spy in the House of Love

“We are more severe judges of our own acts... We judge our thoughts, our intents, our secret curses, our secret hates, not only our acts.”
― Anaïs Nin, A Spy in the House of Love

“There is no bleaker moment in life of the city than that one which crosses the boundary lines between those who have not slept all night and those who are going to work. It was for Sabina as if two races of men and women lived on earth, the night people and the day people, never meeting face to face except at this moment.”
― Anaïs Nin, A Spy in the House of Love

“Innocence was gone from all our acts. Our habitual state of rebellion became a serious political crime.”
― Anaïs Nin, A Spy in the House of Love

“Will you come down and kiss me good night?”
― Anaïs Nin, A Spy in the House of Love

“Slowly what she composed with the new day was her own focus, to bring together body and mind. This was made with an effort, as if all the dissolutions and dispersions of her self the night before were difficult to reassemble. She was like an actress who must compose a face, an attitude to meet the day.

The eyebrow pencil was no mere charcoal emphasis on blond eyebrows, but a design necessary to balance a chaotic asymmetry. Make up and powder were not simply applied to heighten a porcelain texture, to efface the uneven swellings caused by sleep, but to smooth out the sharp furrows designed by nightmares, to reform the contours and blurred surfaces of the cheeks, to erase the contradictions and conflicts which strained the clarity of the face’s lines, disturbing the purity of its forms.

She must redesign the face, smooth the anxious brows, separate the crushed eyelashes, wash off the traces of secret interior tears, accentuate the mouth as upon a canvas, so it will hold its luxuriant smile.

Inner chaos, like those secret volcanoes which suddenly lift the neat furrows of a peacefully ploughed field, awaited behind all disorders of face, hair, and costume, for a fissure through which to explode.

What she saw in the mirror now was a flushed, clear-eyed face, smiling, smooth, beautiful. The multiple acts of composure and artifice had merely dissolved her anxieties; now that she felt prepared to meet the day, her true beauty emerged which had been frayed and marred by anxiety.”
― Anaïs Nin, A Spy in the House of Love

“-You know I've always wanted to break the molds which life forms around one if one lets them.
-Why?
-I want to trespass boundaries, erase all identifications, anything which fixes one permanently into one mold, one place, without hope of change.”
― Anaïs Nin, A Spy in the House of Love

“At sixteen Sabina took moon baths, first of all because everyone else took sun baths, and second, she admitted, because she had been told it was dangerous. The effect of moon baths was unknown, but it was intimated that it might be the opposite of the sun’s effect. The first time she exposed herself she was frightened. What would the consequences be?”
― Anaïs Nin, A Spy in the House of Love

“I don't want you to taint that fragile coat of astonishing colors created by my illusions, which no painter has ever been able to reproduce. Strange, isn't it, that no chemical will give a human being the iridescence that illusions give them?”
― Anaïs Nin, A Spy in the House of Love

“What I corrupted was what is called the truth in favour of a more marvelous world. I could always improve on the facts.
[...] in self-defense, I accuse the writers of fairy-tales. Not hunger, not cruelty, not my parents, but these tales which promised that sleeping in the snow never caused pneumonia, that bread never turned stale, that trees blossomed out of season, that dragons could be killed with courage, that intense wishing would be followed immediately by fulfillment of the wish. Intrepid wishing, said the fairytales, was more effective than labor. The smoke issuing from Aladdin's lamp was my first smokescreen, and the lies learned from fairytales were my first perjuries. Let us say I had perverted tendencies: I believed everything I read.”
― Anaïs Nin, A Spy in the House of Love

“the cape held within its folds something of what she imagined was a quality possessed exclusively by man: some dash, some audacity, some swagger of freedom denied to woman”
― Anaïs Nin, A Spy in the House of Love

“Everything could undergo conversion except the artists. How can you convert disorganizers of past and present order, the chronic dissenters, those dispossessed of the present anyway, the atom bomb throwers of the mind, of the emotions, seeking to generate new forces and a new order of mind out of continuous upheavals?”
― Anaïs Nin, A Spy in the House of Love

“She needed a confessor! Would she find it there, in the world of the artists? All over the world they had their meeting places, their affiliations, their rules of membership, their kingdoms, their chiefs, their secret channels of communication. They established common beliefs in certain painters, certain musicians, certain writers. They were the misplaced persons too, unwanted at home usually, or repudiated by their families. But they established new families, their own religions, their own doctors, their own communities.”
― Anaïs Nin, A Spy in the House of Love

“This openness, which is closed again as soon as we face a partial relationship, the one who understands only one part of us, is the miraculous openess which takes place in whole love.”
― Anaïs Nin, A Spy in the House of Love

“Believing in the danger which sprang from objects as well as people, which dress, which shoes, which coat demanded less of her panicked heart and body? For a costume was a challenge too, a discipline, a trap which once adopted could influence the actor.”
― Anaïs Nin, A Spy in the House of Love

“Later he´ll be drunk in extremis and will only be able to speak the esperanto of alcoholics, which is a language full of stutterings from the geological layers of our animal ancestors”
― Anaïs Nin, A Spy in the House of Love

“It was as if in captivity, her brilliant plumage were losing its brilliance. She felt the metamorphosis. She knew she was moulting.”
― Anaïs Nin, A Spy In The House Of Love

“You haven't loved yet... You've only been trying to love; beginning to love. Trust alone is not love, desire alone is not love, illusion is not love, dreaming is not love. All these were paths leading you out of yourself, it is true, and so you thought they led to another, but you never reached the other. You were only on the way.”
― Anaïs Nin, A Spy in the House of Love

“Em homeopatia há um remédio chamado pulsatila para aqueles que choram com a música.”
― Anaïs Nin, A Spy in the House of Love

“What I corrupted is what is called the truth in favour of a more marvellous world.”
― Anaïs Nin, A Spy in the House of Love

“She understood why it angered her when others spoke of life as One life. She became certain of myriad lives within herself. Her sense of time altered. She felt acutely and with grief, the shortness of life's physical span. Death was terrifyingly near, and and the journey towards it, vertiginous; but only when she considered the lives around her, accepting their time tables, clocks, measurements. Everything they did constricted time...But Sabina, activated by the moonrays, felt germinating in her the power to extend time in the ramifications of a myriad of lives and loves, to to expand the journey to infinity, taking immense and luxurious detours as the courtesan depositor of multiple desires.”
― Anaïs Nin, A Spy in the House of Love

“As if rising with her in his gyroscope of fantasy he took her to visit his collection of empty cages.”
― Anaïs Nin, A Spy in the House of Love: The Authoritative Edition

“Sabina placed The Firebird on the phonograph. The delicate footsteps of the Firebird were heard at first through infinite distance, each step rousing the phosphorescent sparks from the earth, each note a golden bugle to marshal delight. A jungle of dragon tails thrashing in erotic derisions, a brazier of flesh-smoking prayers, the multiple debris of the stained glass fountains of desire.”
― Anaïs Nin, A Spy in the House of Love: The Authoritative Edition