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    Little Birds: Erotica
    Little Birds: Erotica
    Little Birds: Erotica
    Ebook130 pages2 hours

    Little Birds: Erotica

    By Anaïs Nin

    3.5/5

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    Read preview

    • Self-Discovery

    • Relationships

    • Love & Relationships

    • Power Dynamics in Relationships

    • Art & Creativity

    • Forbidden Love

    • Love Triangle

    • Femme Fatale

    • Outsider

    • Other Woman

    • Fish Out of Water

    • Mentor

    • Opposites Attract

    • Journey of Self-Discovery

    • Sibling Rivalry

    • Jealousy

    • Love & Desire

    • Erotic Literature

    • Writing

    • Sensuality

    About this ebook

    These 13 erotic short stories by the acclaimed author of Henry and June explore the nature of desire, taboo, and female sensuality.

    Following her first book of erotic short fiction, Delta of Venus, Anaïs Nin continues to illuminate the many guises of human sexuality in Little Birds. From the beach towns of Normandy to the streets of New Orleans, these thirteen vignettes introduce us to a covetous French painter, a sleepless wanderer of the night, a guitar-playing gypsy, and a host of others who yearn for and dive into the turbulent depths of romantic experience.
     
    "[It is] so distinct an advance in the depiction of female sensuality that I felt, on reading it, enormous gratitude."-Alice Walker
     
    "One of contemporary literature's most important writers."-Newsweek

    LanguageEnglish
    PublisherOpen Road Integrated Media
    Release dateFeb 2, 2004
    ISBN9780547541518
    Little Birds: Erotica
    Author

    Anaïs Nin

    ANAÏS NIN (1903-1977) was born in Paris and aspired at an early age to be a writer. An influential artist and thinker, she was the author of several novels, short stories, critical studies, a collection of essays, nine published volumes of her Diary, and two volumes of erotica, Delta of Venus and Little Birds. 

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    Reviews for Little Birds

    3.5/5

    469 ratings16 reviews

    What did you think?

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    • 2/5
      I found this incredibly boring when compared to the eroticism and sensuality of Delta Of Venus. I was expecting far more from Anais Nin, especially when regarding a field that she had so much expertise in.

      The thing is, erotica is one of those things that is so hard to suffer through when it's dull... there's just no pretending otherwise; and these stories were very similar, caresses followed by a very scientific depiction of oral sex. Sorry to say it did nothing for me.
    • 5/5
      a great look at sexuality and sensuality and erotica. a perfect introduction to the genre.
    • 4/5
      Always keeping an eye open for finer erotica, I was thrilled to come across this work of Anais Nin. My first exposure to Nin. Her writing style paints vivid scenes, clearly stimulating the senses of the reader.Lovely detail but room enough for one's imagination and own interuptation. Highly recommended to those with the confidence to admit an enjoyment of such works. Looking forward to more of her writings. SA Desire'
    • 3/5
      Lyric, subtle explorations into sex and the emotions. Very tactile.
    • 3/5
      Some of the stories are magical, some have no arch at all. Still, pretty good erotica and surprisingly candid in its treatment of themes that would usually be considered extremely tabooish.
    • 4/5
      What can I say, a little something for everyone here. What I like most about Nin's writing is how her characters seem to be regular people living out extraordinary events in their simple lives. No phony glitz or glamour, or over the top romantic fantasy, just the real deal.
    • 4/5
      I think Anais Nin was very courageous in her writing.
    • 5/5
      I have never read true erotic literature before - only that which can easily be found online, which is erotic but not often literary, and which is designed for a different purpose to Nin's. This collection of short stories is as good as text book as a guide to human sexuality; each piece is magnificently composed, each character finely drawn and crafted. I think I am in love.
    • 3/5
      This is a nice small book and a quick read of erotica. The book is based more on a literature base with a french influence. Most stories are based on artists, models and writers perhaps suggesting they are more open to sexual experimentation or less than common experience. This book is much more tasteful and not pornographic by today's standards. it's inticing but still leaves ample room for your imagination. This would be an excellant read for those new to the erotic genre.
    • 1/5
      Disgusting. Child porn. Incest. Implied beastiality. How the hell is this shit considered a classic?

      2 people found this helpful

    • 4/5
      By today's standards, this is pretty tame reading, but when it was first published, it was some pretty racy stuff! What you find here is actually worthy of being labeled literature, but make no mistake, these stories are not likely to show up on a high school reading list. These short stories have beginnings, clearly defined endings and the middles are filled with finely crafted stories and adult fantasies. Like a well cut cocktail gown, a lot is revealed, but just enough is left to our imagination that we want to see more. I highly recommend the Delta of Venus as an ideal companion volume to this one.

      1 person found this helpful

    • 1/5
      This is a collection of erotic short stories. The best way I can describe the effect of this book on the reader comes from Nin’s own words in the preface. She comments that most writers of erotica do not set out to write such material; they are driven to it by the need for money. “Most of the erotica was written on empty stomachs.” She goes on to note that hunger will stimulate the imagination. But she also cautions that if “you get too hungry, too continuously, you become a bum…” I found some analogy in reading these stories. One or two a day was enough. More than that, and I felt nauseatingly full.Fair warning to readers: There are graphic sex scenes here, and while most are typical male/female encounters between consenting adults, a few of the stories include very distasteful and/or disturbing practices (including pedophilia).

      1 person found this helpful

    • 4/5
      This is certainly a collection of stories that don't hold back, exposing thoughts and actions often glossed over or thought of as uncivilised. The stories are beautifully written, these are literature, but not what is usually accepted as such. Go in with an open mind. These stories, even today, can be confronting in their candour.
    • 2/5
      Since Anaïs Nin is quite the literary celebrity, I had high hopes for this one. Don't be fooled: this stuff is woefully thin and underwritten. I suspect that a bad translation might be partly to blame: How many times have you heard an erotic writer refer to somebody's "womb" in a bedroom scene? Even if that isn't the case, though most of these stories are barely sketched out, and the authorial voice is mostly a dull monotone. A couple of things do stand out from time to time. There are shade of Sacher-Masoch's Wanda here: Nin also has a thing about about furs. To her credit, Nin doesn't shy away from discussing the more animalistic aspects of sex, and often emphasizes importance of the sense of smell in eroticism. Readers interested in the oh-so-naughty side of pre-war Paris might like a couple of the more seemingly autobiographical stories here. On the whole, though? There's nothing going on here. At least it's short. Fact is, I finished this one mostly so I could give it a bad review.
    • 1/5
      I was not impressed with this book at all. Especially the first story. Disturbing.

      2 people found this helpful

    • 1/5
      Hum, so.. not exactly my cup of tea, I guess? I still want to give A. Nin another try with Henry and June though.

    Book preview

    Little Birds - Anaïs Nin

    Copyright © 1979 by Rupert Pole as trustee under the Last Will and Testament of Anaïs Nin

    For information about permission to reproduce selections from this book, write to [email protected] or to Permissions, Houghton Mifflin Harcourt Publishing Company, 3 Park Avenue, 19th Floor, New York, New York 10016.

    hmhbooks.com

    The Library of Congress has cataloged the print edition as follows:

    Nin, Anaïs, 1903–1977.

    Little birds/Anaïs Nin.—1st Harvest ed.

    p. cm.

    ISBN 978-0-15-602904-9

    1. Erotic stories, American. I. Title. PS3527.I865L5 2001

    813.52—dc21 2003047828

    eISBN 978-0-547-54151-8

    v6.0121

    Preface

    *

    It is an interesting fact that very few writers have of their own accord sat down to write erotic tales or confessions. Even in France, where it is believed that the erotic has such an important role in life, the writers who did so were driven by necessity—the need of money.

    It is one thing to include eroticism in a novel or a story and quite another to focus one’s whole attention on it. The first is like life itself. It is, I might say, natural, sincere, as in the sensual pages of Zola or of Lawrence. But focusing wholly on the sexual life is not natural. It becomes something like the life of the prostitute, an abnormal activity that ends by turning the prostitute away from the sexual. Writers perhaps know this. That is why they have written only one confession or a few stories, on the side, to satisfy their honesty about life, as Mark Twain did.

    But what happens to a group of writers who need money so badly that they devote themselves entirely to the erotic? How does this affect their lives, their feelings towards the world, their writing? What effect has it on their sexual life?

    Let me explain that I was the mother confessor for such a group. In New York everything becomes harder, more cruel. I had many people to take care of, many problems, and since I was in character very much like George Sand, who wrote all night to take care of her children, lovers, friends, I had to find work. I became what I shall call the Madame of an unusual house of literary prostitution. It was a very artistic "maison," I must say, a one-room studio with skylights, which I painted to look like pagan cathedral windows.

    Before I took up my new profession I was known as a poet, as a woman who was independent and wrote only for her own pleasure. Many young writers, poets, came to me. We often collaborated, discussed and shared the work in progress. Varied as they were in character, inclinations, habits and vices, all the writers had one trait in common; they were poor. Desperately poor. Very often my "maison" was turned into a cafeteria where they dropped in, hungry, saying nothing, and we ate Quaker Oats because that was the cheapest thing to make, and it was said to give strength.

    Most of the erotica was written on empty stomachs. Now, hunger is very good for stimulating the imagination; it does not produce sexual power, and sexual power does not produce unusual adventures. The more hunger, the greater the desires, like those of men in prison, wild and haunting. So we had here a perfect world in which to grow the flower of eroticism.

    Of course, if you get too hungry, too continuously, you become a bum, a tramp. Those men who sleep along the East River, in doorways, on the Bowery, they have no sexual life at all, it is said. My writers—some of them lived in the Bowery—had not reached that stage yet.

    As for me, my real writing was put aside when I set out in search of the erotic. These are my adventures in that world of prostitution. To bring them into the light was at first difficult. The sexual life is usually enveloped in many layers, for all of us—poets, writers, artists. It is a veiled woman, half-dreamed.

    Little Birds

    Manuel and his wife were poor, and when they first looked for an apartment in Paris, they found only two dark rooms below the street level, giving onto a small stifling courtyard. Manuel was sad. He was an artist, and there was no light in which he could work. His wife did not care. She would go off each day to do her trapeze act for the circus.

    In that dark under-the-earth place, his whole life assumed the character of an imprisonment. The concierges were extremely old, and the tenants who lived in the house seemed to have agreed to make it an old people’s home.

    So Manuel wandered through the streets until he came to a sign: FOR RENT. He was led to two attic rooms that looked like a hovel, but one of the rooms led to a terrace, and as Manuel stepped out onto this terrace he was greeted with the shouts of schoolgirls on recess. There was a school across the way, and the girls were playing in the yard under the terrace.

    Manuel watched them for a few moments, his face glowing and expanding in a smile. He was taken with a slight trembling, like that of a man anticipating great pleasures. He wanted to move into the apartment immediately, but when evening came and he persuaded Thérèse to come and inspect it, she saw nothing but two uninhabitable rooms, dirty and neglected. Manuel repeated, But there is light, there is light for painting, and there is a terrace. Thérèse shrugged her shoulders and said, I wouldn’t live here.

    Then Manuel became crafty. He bought paint, cement and wood. He rented the two rooms and devoted himself to fixing them. He had never liked work, yet this time he set about doing the most meticulous carpentry and paint job ever seen, to make the place beautiful for Thérèse. As he painted, patched, cemented and hammered, he could hear the laughter of the little girls playing in the yard. But he contained himself, waiting for the right moment. He spun fantasies of what his life would be in this apartment across from a girls’ school.

    In two weeks the place was transformed. The walls were white, the doors closed properly, the closets could be used, the floors no longer had holes in them. Then he brought Thérèse to see it. She was quite overwhelmed and immediately agreed to move. In one day their belongings were brought on a cart. In this new place, Manuel said, he could paint because of the light. He was dancing about, gay and changed.

    Thérèse was happy to see him in such a mood. The next morning, when things were but half-unpacked and they had slept on beds without sheets, Thérèse went to her trapeze work and Manuel was left alone to arrange things. But instead of unpacking he went downstairs and walked to the bird market. There he spent the grocery money that Thérèse had given him to buy a cage and two tropical birds. He went home and hung the cage outside on the terrace. He looked down for a moment at the little girls playing, watching their legs under the fluttering skirts. How they fell upon each other in games, how their hair flew behind as they ran! Their tiny new breasts were already beginning to show in their very plumpness. His face was flushed, but he did not linger. He had a plan, and it was too perfect to surrender now. For three days he spent the food money on birds of every kind. The terrace was now alive with birds.

    Each morning at ten o’clock Thérèse was off to work, and the apartment was filled with sunlight and the laughter and cries of little girls.

    The fourth day Manuel stepped out on the terrace. Ten o’clock was the recreation hour. The schoolyard was animated. To Manuel it was an orgy of legs and very short skirts, which revealed white panties during the games. He was growing feverish, standing there among his birds, but finally the plan succeeded; the girls looked up.

    Manuel called, Why don’t you come and see? There are birds from all over the world. There is even a bird from Brazil with the head of a monkey.

    The girls laughed, but after school, impelled by curiosity, several of them ran up to his apartment. Manuel was afraid that Thérèse would come in. So he just let them watch the birds and be amused by their colored beaks and antics and odd cries. He let them chatter and look, familiarize themselves with the place.

    By the time Thérèse came at one-thirty, he had won from the girls the promise that they would come and see him the next day at noon as soon as school was over.

    At the appointed hour they arrived to watch the birds, four little girls of all sizes—one with long blond hair, another with curls, the third plump and languid and the fourth slender and shy, with big eyes.

    As they stood there watching the birds, Manuel became more and more nervous and excited. He said, Excuse me, I have to go and pee.

    He left the door of the toilet open so that they could see him. Only one of them, the shy one, turned her face and fixed her eyes on him. Manuel had his back to the girls but looked over his shoulder to see if they were watching him. When he noticed the shy girl, with her enormous eyes, she glanced away. Manuel was obliged to button himself up. He wanted to have his pleasure cautiously. That was enough for today.

    Having seen the big eyes upon him set him dreaming for the rest of the day, offering his restless penis to the mirror, shaking it like a candy or a fruit or a gift.

    Manuel was well aware that he was highly endowed by nature in the matter of size. If it was true that his penis wilted as soon as he came too close to a woman, as soon as he lay at a woman’s side; if it was true that it failed him whenever he wanted to give Thérèse what she wanted, it was equally true that if a woman looked at him, it would grow to enormous proportion and behave in the most vivacious way. It was then that he was at his best.

    During the hours when the girls were shut in their classrooms he would frequent the pissoirs of Paris, of which there were so many—the little round kiosks, the labyrinths without doors, out of which would always come men boldly buttoning themselves while staring straight into

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