Writer’s Corner: What Henry Miller Said

henrymiller1Courtesy of the folks at Flavorwire, here’s some commandments from Henry Miller on the craft of writing:

1. Work on one thing at a time until finished.
2. Start no more new books, add no more new material to “Black Spring.”
3. Don’t be nervous. Work calmly, joyously, recklessly on whatever is in hand.
4. Work according to Program and not according to mood. Stop at the appointed time!
5. When you can’t create you can work.
6. Cement a little every day, rather than add new fertilizers.
7. Keep human! See people, go places, drink if you feel like it.
8. Don’t be a draught-horse! Work with pleasure only.
9. Discard the Program when you feel like it—but go back to it next day. Concentrate. Narrow down. Exclude.
10. Forget the books you want to write. Think only of the book you are writing.
11. Write first and always. Painting, music, friends, cinema, all these come afterwards.

There’s a lot that’s pertinent here, but “Don’t be a draught-horse” seems like the most important one to keep in mind.

Writer’s Corner: Anaïs Nin on Saying It All

Anais Nin (Elsa Dorfman, c.1970s)
Anais Nin (Elsa Dorfman, c.1970s)

As one of the twentieth century’s more celebrated and mutinous rebel authors, Anaïs Nin (1903–1977) didn’t seem to keep much back. After all, she made money for a time in the 1940s by knocking out ornately gilded pornography at a buck a page for an anonymous, wealthy collector. The stories were later prettied up under the label “erotica” and published posthumously in collections like Delta of Venus.

Although she wanted to be remembered for her knotty and abstract avant-garde fictions like Cities of the Interior, Nin gained true notoriety for her multi-volume diary. The first iterations were high-toned smutty gossip for the literary set, liberally threaded with luminous poetic musings. deltaofvenusThey detailed her lavishly busy and experimental love life—including a 12-year affair with fellow literary rule-breaker Henry Miller—but were later outdone by the release (starting last year) of the completely unexpurgated diaries. This revised series includes everything cut out earlier by request of some of her then-living lovers.

Nin’s career-long back and forth between taboo-busting and rectitude makes this piece of writerly advice even more fascinating:

The role of the writer is not to say what we can all say but what we are unable to say.

Dept. of Literary Commerce

When novelist/screenwriter/storeowner Larry McMurtry announced The Last Book Sale, he didn’t really know how many people would trek down to his retail emporium in Archer City, Texas to buy up some of the 300,000+ titles that were on offer. In the end, he reported in the New York Review of Books, “everything sold but the fiction … I was irritated to discover that I still had 30,000 novels to sell.”

The auction went well, overall, particularly in regards to this title:

The star item on the first day was typescript of some twenty-nine story-ettes of an erotic nature. These had been commissioned in the 40s by the oilman in Ardmore, Oklahoma; among the writers who wrote these trifles were Henry Miller, Anais Nin, Lawrence Durrell and others. The late G. Legman knew the oil man’s name but never revealed it. I have owned this curiosity for more than twenty years; it went to Between the Covers for $2,750.