#allendis

[garadinervi]

À la recherche d'une base. Peintures de Morellet, Text by Vera Molnar, Galerie Colette Allendy, Paris, 1958 [Saint-Martin Bookshop, Bruxelles-Brussel]

[derangedrhythms]

I will teach you to play, not to take love so tragically, not to pay such a heavy price for it. You have made it too dramatic and intense a thing. 

René Allendy, quoted in ‘Henry and June: From The Unexpurgated Diary of Anaïs Nin’

[gigai-dumps]

Tia attempting to find the courage to confide in Allen with what happened with her is... interesting. I do like her outburst and can see why both characters had the mindsets they were in at that time. (Well, as best as I could grasp Tia since she fluctuates personalities every so often for some reason).

Seen people say that the only reason Allen doesn't believe Tia was just a writing contrivance so that the aftermath drives a wedge between the two and all because Allen isn't the planned love interest. However, I'd say Allen not fully supporting Tia this time feels pretty in line with his character from the start. Allen is allegedly characterized as someone whose a supposed genius, a very logic & reason person. (Again, allegedly as I'm going off of the manhwa's exposition than what they were able to show fully) so of course he's not going to believe isekai time travel being a thing without hard evidence and choose the idea, logically, that Tia is just ranting about a bad dream and projects that idea onto her as he attempts to comfort her. Is he being an ass? Yeah. Is it ooc? Not really.

There's also the fact that the nature of their dynamic has always looked to be oddly distant in spite of so much time they supposedly spent together. Tia latches onto him because he's nice but Allen's gentleness towards her was never without personal motives. He likes her but he was always looking at her on a surface level. He wants to feel like they have a deeper bond but they really don't. (Unless that's also what Yuna is trying to convince me too in that case well... potato)

[boricuacherry-blog]

Dr. Allendy's office was soundproofed by a heavy black Chinese curtain, black with a few gold-embroidered papyrus branches. It made his office seem less that of a doctor than a magician. Like a magician who would persist in prying open your secrets. When he was ready he would slide the door open, then slide the curtain. He was tall, but he seemed even taller in the small rooms. His enormous Celtic blue eyes were the most vivid, alive part of his body. He had the eyes of a seer. He was heavy, and his bearded face and large nose gave him the air of a moujik. He could have been a fanatic. It was unexpected to find an analyst who sat quietly behind his armchair, rustling notepaper, talking softly. He had beautiful teeth, but he rarely laughed, and never heartily.

-Anais Nin

[miyuskye]

VADD NOVEL SPOILER ALERT ❗❗❗

After reading those chapters (158-159), seeing this cover hurts like hell. Eckles was (mind the past tense) my favourite male to ship with Penelope. (My overall fave has always been Callisto but he's like PERFECT so) I knew Eckles was twisted, when he threw those tantrums because Penelope wasn't spending time with him in s3, I thought 'it's fine, he's like this'. I always liked the yandere character type, after all. But the way that scene it's written in the novel, the way he victim-blames Penelope for his crimes is... too much.

"I don't care if I have to become a traitor who sells out his kingdom and his people..." (...)

"I want you, Penelope Eckhart." (...) "That's what you've done to me. You made me this way, and every time you pretend not to notice what you're doing to me, wearing that innocent look on your face... It makes me lose my mind, but what else can I do? You're still so lovely..."

Those words are terrifying. He says he loves her, he says she's lovely but in the same sentence he says that he hates her. The description of the favorability bar being a combination of love and hate (emphasis on hate), and how Eckles goes from praising her to blaming her for things she has no fault of... (she used him, but she never told him to kill Ivonne or betray his people!) it's so well written. I like to draw the line between fiction and reality, and I always like, in fiction, some toxic dynamics I would never condone in real life, but... The way it's written in this novel is too realistic to enjoy in a "romantic" way.

I feel like sometimes yandere characters are written through lenses that make them enjoyable despite their wrongdoings. Allendis from TAE is first rejected from the FL and then he goes crazy. This doesn't justify him of course, but it makes you feel sympathy, in a way. Jumin from MysMes never actually blames MC in his bad ending.

I love the narrative in VADD because there's just no way to feel sympathy for Eckles. As much as I liked him, as much as I wanted him to be ~the one~ for Penelope, it just crashed down the moment he revealed his true self. It made an impact to me because I felt as she felt. I knew some spoilers about him, I knew he was the yandere, but I didn't know it was this intense. That's probably what Penny felt too. She knew he was sick in the head and she wanted to just use him to escape. He fooled us with his fake submissive demeanor and destroyed us in the end. Penny, because she couldn't escape through him, me because I actually thought his love for her would eventually turn out to be good-natured. But those words he said to her cannot be excused, not even in fiction.

They are still an interesting toxic relationship to explore! And I LOVE the parallels between this relationship and the one she has with the man the myth the legend Callisto. The author did such a good job with the romance description in this series, I feel that, probably due to the whacky translation, the brutality of some scenes mellowed out. But I can't wait to see this in the webtoon

[soggetto-smarrito]

.......................

D'un tratto la vibrazione del telefono mi ridestò dai miei sconci pensieri.

La tendina dei messaggi di Tumblr si abbassò per qualche secondo, facendomi scorgere un nome che non avevo mai visto.

Incuriosito aprii la chat di messaggistica:

- Ciao sono molto curiosa di quello che pubblichi, ti va di chattare un po'?

Questa richiesta mi spiazzo' un pochino, guardai la foto profilo ma non diceva assolutamente nulla. Una piramide con un lato di colore verde con due puntini come occhi su sfondo arancione, comunque l'intuito mi suggeriva fosse una donna.

Provai a rispondere, sperando fosse ancora lì, nel web, in attesa di un mio messaggio.

- Cosa ti colpisce dei miei blog ? le scrissi

Passò qualche secondo e la tendina si mosse ancora...

- I pensieri, sono molto simili ai miei, soprattutto quando descrivi momenti erotici.

Le fantasie di prima, accantonate in un angolo del cervello..sommate a questa risposta mi fecero mettere una mano nei jeans. L'arrivo inatteso di questa nuova chat con una probabile donna eccitò ancora di più la mia mente e mi domandai se fosse stato il caso di dirglielo.

( magari più tardi ) pensai...( Vediamo dove si và a parare )

- Se abbiamo pensieri simili, sapresti dirmi cosa sto facendo adesso mentre ti scrivo?

- Mentalmente?

- Si mentalmente...e se vuoi..anche fisicamente 😎😎

- Secondo me ti stai toccando.

Caspita..non mi aspettavo che centrasse al primo colpo la verità. È sicuramente una donna molto sveglia.

Tolsi la mano dal cazzo, che nel frattempo si era fatto duro...e scrissi,

- cosa te lo fa pensare ?

Attesi qualche secondo ma la risposta non arrivò.

- comunque si..hai indovinato.

Niente, nessuna risposta.

- Stamattina sono particolarmente eccitato e quando mi hai scritto, ho immaginato subito scene di sesso.

Sei molto mentale anche tu ?

- moltissimo.

Eccola....la mano torno immediatamente dentro i jeans, afferrandolo.

- La mente e tutto. mi scrisse..

E ha bisogno sempre di nuove emozioni, e quelle più belle, sono quelle che capitano all'improvviso..probabilmente spinte da qualche mancanza, anzi...tolgo il probabilmente. Da qualche mancanza che va riempita con nuove emozioni, perché purtroppo quelle vecchie sono diventate monotone.

Sbaglio?

- assolutamente no. Scrissi

E subito dopo la incalzai senza darle il tempo di sparire di nuovo

- Cos'è che ti stimola di più la mente ?

Un racconto..una foto, un film ?

- parole...ogni parola

- che tipo di parole ?

- Che formulano una frase e che di conseguenza eccitano la mente, so che mi hai capito....40. 😎.

- 40 ?

Cazzo aveva visto il mio post dell'altro giorno, quello in cui dicevo che era per pochissimi, chissà se si era avvicinata alla soluzione.

-Il numero 40 indica il mistero, quindi la prova iniziata, il trapasso che permette una seconda nascita, quella spirituale. Secondo R. Allendy, medico, psicanalista e astrologo, il numero 40 “è la realizzazione di un ciclo nel mondo, o meglio il ritmo delle ripetizioni cicliche dell'Universo”.

- Sei una ragazza molto sveglia...lo ammetto, e quindi ti senti nella condizione di rinascere?

- si.

-

- E come desideri... rinascere ?

l'attesa della risposta mi incendiò la mente.

- Con conoscenze nuove che mi eccitano di nuovo la mente...sai quella scintilla che non ce più...

- Nuove conoscenze capaci di aprire nuovi orizzonti.

- Esattamente.

-

- Facendoti fremere, bagnare...per non dire di più. Posso fare un piccolo test ?

- Si.

- La parola cazzo..cosa ti evoca nella mente ?

- Desiderio di scopare.

- Dolcemente o con ferocia ?

- Prima dolcemente con i baci e poi forte forte, senza limiti.

- E la parola....corde ?

- Di essere legata e usata 😎

.................................

[jartita-me-teneis]

Era una Mujer que escribía explícitamente sobre el sexo

desde el punto de vista femenino, pero también

de la belleza de las emociones. Adorada por algunos,

odiada por muchos e incomprendida por la mayoría,

Anaïs Nin nació en Francia, en el área metropolitana de París,

un 21 de febrero de 1903.

Tenía dos hermanos.

Su padre, Joaquín Nin, era pianista y compositor,

y su madre, Rosa Culmell, una cantante de formación clásica.

Ambos habían nacido en Cuba.

Tal vez por eso, Anaïs desde niña, se sintió atraída

por el mundo del Arte..

Cuando tenía 10 años, su familia se traslada a Barcelona,

y su padre los abandona.

Sola, y cargo de tres hijos, la madre de Anaïs decidió ir a vivir a Nueva York, donde residía parte de su familia cubana que los esperaba.

Éste hecho, la partida de su padre, la marcó para el resto

de su vida. Sus Diarios se iniciaron como una carta dirigida

a su Padre, con quien no tuvo contacto durante

los siguientes 20 años y con quién se cuenta

mantuvo una relación de incesto.

A los 19 años consigue un trabajo como modelo

y bailarina de flamenco.

Conoció al poeta y banquero Hugh Guiller en 1923.

Pronto, Nin y Guiller se enamoraron y contrajeron

matrimonio en La Habana. Un año más tarde,

los artistas se trasladaron a París, donde Hugh trabajó

en un banco y Anaïs encontró el tiempo y el espacio

para volcarse en su escritura.

Entre 1929 y 1930, completó su primer libro titulado

La intemporalidad perdida.

Eran 16 historias, con tintes oníricos y psicoanalíticos

que emanaban el espíritu vanguardista del París

de los años 20'.

No obstante, y aunque ofeecido a varias editoriales,

fue rechazado.

En 1932 publica un ensayo sobre D. H. Lawrence,

y un año después conoce a Henry Miller, con quien luego

inicia un apasionado romance con él,

y también con su esposa June Miller.

Con Miller compartían (además), manuscritos

y ella lo ayudó en la creación de sus dos únicas novelas

Trópico de Cáncer y Trópico de Capricornio.

En Francia conoce a Bretón, Artaud, a Moricand,

a Lawrence Durrell. Decidirá ser Escritora y se sumergirá

en el placer, y veces el dolor de hombres y mujeres.

Se interesó profundamente por el psicoanálisis,

estudiándolo primero con René Allendy y luego

con Otto Rank (compañero de Sigmund Freud),

dos maestros que eventualmente fueron sus amantes.

Su primera novela, La casa del incesto aparece en 1936.

Al inicio de la II GM, en 1939 emigra a EEUU.

Viviendo en el West Village de NYC, se convierte

en la primera Mujer en explorar el mundo

de la literatura erótica. Decidió prescindir de las editoriales

y publicar por su cuenta.

Aparecen así Delta de Venus, Corazón cuarteado,

Una espía en la del Amor, y Collage.

A los 44 años conoció al ex actor Rupert Pole (dieciséis años

menor que ella), cuando se dirigía a una fiesta

en un ascensor de Manhattan, y en 1955 se casó con él,

mientras seguía casada con Hugh.

Durante un tiempo, Nin mantuvo dos matrimonios

en paralelo: uno en Nueva York (Hugh) y otro en Los Ángeles (Rupert).

De estas vivencias nació Ciudades interiores,

una serie de novelas en las que Nin ficcionó sus experiencias.

También fue pionera del poliamor.

Pero más allá de sus novelas, serán sus transgresores Diarios, donde desfilan los Intelectuales y Artistas más famosos

de su época, desde Dalí y Gala, Carpentier, Chaplin,

Cortázar, y Tanguy, entre otros, publicados a mediados

de los 60', los que la consagren como un Ícono

de la Liberación Femenina, amado por Mujeres jóvenes

que veían en primera persona cómo una de ellas podía

hacerse un lugar en un mundo dominado po

los Hombres en la Literatura.

Fue invitada a dar conferencias en universidades

de diversos países. En la década de los 70' recibió

el doctorado honorífico del Philadelphia College of Art (1973),

fue elegida miembro del instituto Nacional

de Artes y Letras de Estados Unidos (1974) y obtuvo

el premio a la Mujer del Año de Los Angeles Times en 1976.

Partió al año siguiente.

Sus cenizas fueron esparcidas en un paraje llamado Mermaid Cove, en California, frente a la costa del Pacífico.

Anaïs Nin logró expresar todo lo que los libros de Mujeres habían dejado de lado, no sólo rompiendo tabúes, sino también escribiéndolos.

Subyace en su literatura la indagación de lo más íntimo de su alma; su feminidad con sus matices, y los conflictos entre el intelecto y sus emociones.

Para ella, no hay nada más que sus diarios. En ellos, esa intimidad no se sugiere, sino que se exhibe, junto a la búsqueda del deseo y los

límites del cuerpo y de ella misma.

Es una literatura viva y sin maquillajes, un espejo que refleja todos los cambios de los estados de ánimo, del Amor al odio, que marcan nuestra frágil naturaleza como Mujeres.

Lo que Proust, Joyce y Miller estaban haciendo, ella lo hizo desde la Conciencia Femenina y a veces (muchas) en primera persona, en el espacio que se crea entre una pérdida y un vacío, se refugian las palabras, en una búsqueda de lo íntimo de nuestra Humanidad, para acercarla a una idea que le defina, una interpretación abstracta sobre la necesidad y la inquietud Existencial, a través de la Libertad como mensaje de su propia vida...

🌹

[theanimeview]

[Analysis] The Abandoned Empress Should Have Been With The Knight! (Ending Spoilers)

Source: The Abandoned Empress

By: Peggy Sue Wood | @pswediting

I don’t know about everyone else, but I hated the ending of The Abandoned Empress. I’ve been wanting to discuss it for a while now but was unable to bring myself to write about it until now because of the disappointment I felt after reading the ending. Spoilers ahead, by the way.

For those needing a reminder, and perhaps those not yet reading the story but considering it, The Abandoned Empress is a a complete romance story available on TappyToon that follows the life of Aristia, the daughter of a prestigious knight’s family, House Monique. After a tragic first life where she suffered at the hands of her abusive, cold husband, was demoted to the position of a Queen while still having to do the Empress’s work because the chosen Empress was practically useless, and other pains, Aristia is given a chance to start anew when she awakens in the body of her 10-year-old self.

The god of the story, after seeing Aristia great suffering, gives her a second chance by resetting the timeline. She is given a middle name, “Pioneer,” something that is only gifted by the god of this world. By receiving the name, Aristia is given the freedom to choose a different path from the one the god had defined for her, allowing her to go against her fate of marrying the emperor, dying at his hands, and so on.

Throughout her second life, Aristia makes significant changes that positively impact those around her. She forges friendships, trains in swordplay to potentially inherit her family name, and even changes the course of her romantic life by gaining two additional love interests. However, despite the numerous changes in her second life, the ending of the story put her in the same place she was before–at the Emperor’s side.

This my main issue with the ending. Particularly because Ruvellis Kamaludin Shana Castina, the Emperor, and her husband fails to develop significantly in the story. While he supposedly changes in the second life due to Aristia’s influence, his poor behavior in the first life, including emotional and physical abuse towards Aristia and her father, is not sufficiently explained or justified. The creator(s) try to use effects from prolonged poisoning as an excuse, but that fails to address his one-sided vendetta against Aristia and her family by extension. Even more so when you consider that, in their first life, he was kind to his Empress and recognized as a good leader. Things that would likely not have been possible if his aggression toward Aristia was truly a result of poisoning. Moreover, Aristia’s love for him seems unconvincing and unfounded, especially given their history and the presence of far better options among her three potential love interests.

Outside of Ruvellis, there is Allendis de Verita, an administrative officer from her past life, and Carsein de Rass, a man who becomes a knight in her past life. In this new life, the two other love interests follow somewhat similar paths with Allendis de Verita taking on an administrative role but becoming obsessed with Aristia to the point of committing treason. Meanwhile, Carsein de Rass, once more becomes the youngest knight in history.

Of the three options, I think everyone can agree that Carsein was the best option. He goes blind for his friend and always puts Aristia first. He is caring, honest, and upfront, unlike the other two options who are individually abusive and manipulative.

Moreover, and this one is a big one for me, marrying him makes the most sense for her if she truly plans to inherit her family’s house.

Carsein is the second son of another prestigious knight’s family. As the second son, he is aware he won’t inherit a title and instead focuses on building up his own name. Because of his history training as a fellow knight, he makes the most sense for her to pick as a partner, since he would be able to enter under House Montique rather than Arisitia entering House Rass. He and Aristia would have made a great knight family together and also enjoyed a loving relationship. We see that the men of House Rass are very affectionate and loving towards their partners–even if their love interests are not as in love with them, they do not falter in their care and concern. Carsein very much lives up to this at the end of the story when he accepts that Aristia has chosen Ruvellis.

The fact that she chose Ruvellis, that she chose to become Empress, that she chose to stick with her former fate as his partner really left me, as a reader, with much to be desired. Her second life was all about building herself up as the rightful heir of House Monique, and she was granted that opportunity by the god of their world and her father, who stood in opposition of the Imperial family’s expectations regarding her engagement. At the end, she is still the heir, but that is an empty title that will be secondary to her role and standing as the Empress. More likely, one of her children will become the actual heir to the house, and that felt like an insult. I mean, even choosing not to have a partner or love interest at the end would have been better because of how poorly developed Ruvellis was by the ending of the story.

Overall, The Abandoned Empress was a fascinating story and had a great cast of characters. However, the ending leaves much to be desired, particularly concerning the character development of the male lead and the resolution of Aristia’s romantic life.

If you have read it, did you feel the same? Or, did you think Ruvellis/Allendis was the right choice? Let me know, as I’d be interested in hearing why.

[la-semillera]

TRACEY EMIN & ANAÏS NIN

Cruce de caminos: Llego a Paris, rendida al deseo de ir y ver a Henry, también preocupada por la severidad de Allendy al teléfono, porque había deseado que yo fuera débil y fuera a verlo a pesar de mi promesa (esperar hasta que Hugo esté curado). Indecision total, cosa rara en mí. Cojo un taxi y doy la dirección de Clichy; luego, cambio de idea y voy a American Express y me entero de que June sigue en París, lo cual me aflije. De nuevo tomo un taxi para ir a Clichy, pero siento que no quiero seguir amando a Henry más activamente de lo que él me ama (dándome cuenta de que nadie me amará nunca de esa manera superabundante, superexpresiva, superreflexiva y sobrehumana con que yo acostumbro a amar a la gente), así que esperare a que me llame. Le digo al taxista que me deje en Galeries Lafayette y me pongo a buscar un nuevo sombrero y a hacer las compras de Navidad. Orgullo? No lo se. Una especie de prudente retirada. Necesito demasiado a la gente. Por eso sepulto mi defecto gigantesco, mi desbordamiento de amor, bajo trivialidades, como una niña. Me divierto con mi nuevo sombrero.

- Anaïs Nin, Diarios amorosos. Incesto.(1932-1934). Siruela, traducción de José Luis Fernández-Villanueva.

- Tracey Emin, Praying to a Different God

[floridakilo]

“The light was crude. It made Artaud’s eyes shrink into darkness, as they are deep-set. This brought into relief the intensity of his gestures. He looked tormented. His hair, rather long, fell at times over his forehead. He has the actor’s nimbleness and quickness of gestures. His face is lean, as if ravaged by fevers. His eyes do not seem to see the people. They are the eyes of a visionary. His hands are long, long-fingered. Beside him Allendy looks earthy, heavy, gray. He sits at the desk, massive, brooding. Artaud steps out on the platform, and begins to talk about ‘The Theatre and the Plague.’

He asked me to sit in the front row. It seems to me that all he is asking for is intensity, a more heightened form of feeling and living. Is he trying to remind us that it was during the Plague that so many marvelous works of art and theater came to be, because, whipped by the fear of death, man seeks immortality, or to escape, or to surpass himself? 

But then, imperceptibly almost, he let go of the thread we were following and began to act out dying by plague. No one quite knew when it began. To illustrate his conference, he was acting out an agony. ‘La Peste’ in French is so much more terrible than ‘The Plague’ in English. But no word could describe what Artaud acted out on the platform of the Sorbonne. He forgot about his conference, the theatre, his ideas, Dr. Allendy sitting there, the public, the young students, his wife, professors, and directors.

His face was contorted with anguish, one could see the perspiration dampening his hair. His eyes dilated, his muscles became cramped, his fingers struggled to retain their flexibility. He made one feel the parched and burning throat, the pains, the fever, the fire in the guts. He was in agony. He was screaming. He was delirious. He was enacting his own death, his own crucifixion.

At first people gasped. And then they began to laugh. Everyone was laughing! They hissed. Then, one by one, they began to leave, noisily, talking, protesting. They banged the door as they left. The only ones who did not move were Allendy, his wife, the Lalous, Marguerite. More protestations. More jeering. But Artaud went on, until the last gasp. And stayed on the floor. Then when the hall had emptied of all but his small group of friends, he walked straight up to me and kissed my hand. He asked me to go to the cafe with him.”

-Anaïs Nin, published 1971

[pwlanier]

Maria Manton (1910-2003) La Maison d'Alger 1977 Oil on panel signed at the bottom left center, countersigned, titled, dated and bearing the stamp of the workshop on the back.

From 1948 Maria Manton exhibited in groups at the Colette Allendy gallery and then at that of Lydia Conti where her works rub shoulders with those of Hans Hartung, Gérard Schneider, Some of Maria Manton's works were exhibited at the Soulages Museum during the exhibition "Women 50s.

Interencheres

[byronsmuse]

This brings him to the idea of destiny: “what we fear might happen, does happen.” I always fear to be abandoned or at least neglected, and so it happens . . . I make it happen. To what extent we thus shape our destiny is a mystery, evento Dr. Allendy. He goes so far as to assert that, if I had not feared to be neglected or liked less than his other women patients, he would not have been delayed. This is very obscure and hypothetical. Certainly a fatalityhaunts me. This set me dreaming about fatality. Do human beings pick up “waves” from others’ thoughts? Did Dr. Allendy pick up waves of my thoughts while I sat waiting: be late, and then I will be able not to trust you, confide in you, love you, and be in another’s power? He was glad of the warmth now appearing in our relationship. But he showed me how the dream betrayed that my happiness came more from his neglecting other people to give me all his attention than from the attention itself. Anaïs: “It is strange that today I made a note to ask you why I am obsessed with a few persons only. Why are my devotions so concentratedon a few people? I do not spread out as Henry does.” Dr. Allendy: “Yes, exactly, it is a bad sign. You do not really confide inmany people, then they do not know you, and then you quickly surmise they do not understand and love you. On the few people you feel connected with, you pour a lavish devotion. This must cease. In love, too, one must relinquish to really love. You cannot admit rivalry. The more broadly and expansively you love, without exclusiveness, the more you reach the mystic whole, the larger sense of love, the less individualistic, the more universal love.

Anais Nin, The Diary Volume I 1931-1934

[gigai-dumps]

Damn Abandoned Empress would be peak if Carsein and Allendis would kiss.

[worldsandemanations]

À la recherche d'une base. Peintures de Morellet, Text by Vera Molnar, Galerie Colette Allendy, Paris, 1958

[megakarina66-blog]

BLATENDE SCHAPEN.

[miskeit]

Doktor Allendy powiedział, że koniecznie trzeba wziąć się z życiem za bary, że romantycy padali pod ciosami życia, umierali przez nie, dawniej zmożeni gruźlicą, a dzisiaj nerwicą.

— Anaïs Nin