. . .c'est la partie du film où vous rêvez d'un rêve dans un rêve où chaque ciel est sanglante, les personnes non-awesome me coupe, le feu est la nourriture, les bébés autochtones sont jamais faim, de froid, de maladie, ou de peur, et la fuite est la seule option. . .
“Anaïs, I don't know how to tell you what I feel. I live in perpetual expectancy. You come and the time slips away in a dream. It is only when you go that I realize completely your presence. And then it is too late. You numb me. [...] This is a little drunken, Anaïs. I am saying to myself "here is the first woman with whom I can be absolutely sincere." I remember your saying - "you could fool me, I wouldn't know it." When I walk along the boulevards and think of that. I can't fool you - and yet I would like to. I mean that I can never be absolutely loyal - it's not in me. I love women, or life, too much - which it is, I don't know. But laugh, Anaïs, I love to hear you laugh. You are the only woman who has a sense of gaiety, a wise tolerance - no more, you seem to urge me to betray you. I love you for that. [...]
I don't know what to expect of you, but it is something in the way of a miracle. I am going to demand everything of you - even the impossible, because you encourage it. You are really strong. I even like your deceit, your treachery. It seems aristocratic to me.”
― Henry Miller, A Literate Passion: Letters of Anaïs Nin & Henry Miller, 1932-1953
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