
The Portable Anaïs Nin
The modern successor — the same job with the full posthumous shelf available.
Read our take
by Anaïs Nin
The first one-volume Nin: fiction, diary, and criticism selected in 1973, at the height of the fame, as the front door to the shelf.
The first attempt to put Nin's whole range between two covers: a 1973 selection from the fiction, the diaries, and the criticism, edited by Philip K. Jason with an introduction by the scholar Anna Balakian, published by Swallow Press while the Diary's fame was cresting. For a generation of readers it served as the front door — the sampler that led to the full volumes. We shelve it as selected writings: Nin's words, an editor's architecture. (Selections — nothing to spoil.)
By 1973 the shelf had a navigation problem the Reader was built to solve: five novels in and out of the Cities of the Interior sequence, story collections, criticism, and a multi-volume Diary still growing — with new readers arriving by the lecture-hall-full and no obvious first book. Jason's selection cut across all of it, excerpting the continuous novel, the stories, the Diary, and the critical prose, with Balakian — a leading scholar of Surrealism — introducing Nin's lineage for the newcomers.
Time has changed its role: the individual volumes are all in print, and later selections (The Portable Anaïs Nin, 2011) redid the job with the posthumous decades available. The Reader remains the period document — what the essential Nin looked like from inside the fame, chosen while she was alive to approve it.
Selections across the range as it stood in 1973: excerpts from the continuous novel and House of Incest; stories from Under a Glass Bell; passages from the published Diary volumes; and critical prose, with Philip K. Jason's editorial frame and Anna Balakian's introduction placing Nin among the moderns.
The laboratory metaphor gives the diary a purpose beyond preserving experience. In the passage from The Novel of the Future quoted by Harriet Zinnes while reviewing the Reader, Nin describes testing realities against illusions and registering setbacks as well as advances. Such a record cannot simply confirm an already completed self. It needs the possibility of error and change. Placed beside fiction, this account invites readers to consider how private experiments become material for invented lives, without requiring a fictional character to be treated as a disguised entry from the diary.
For Zinnes, returning to Nin through this anthology resembles revisiting a place that memory has failed to preserve fully. That comparison makes selection an occasion for reconsideration, not merely a convenient reduction of a larger shelf. Her review brings Nin's explanation of dream and reality into conversation with the fiction, allowing a critical statement to alter the terms on which a passage is read. The Reader's collected voice can thus be approached as a dialogue between forms: one kind of writing asks readers to look again at another.
What 'essential Nin' meant in 1973, chosen inside the moment.
Balakian's introduction was an early academic claim for Nin's place among the moderns.
The volume itself is evidence — of the audience, the canon-building, and the shelf as it then stood.
1966
Publication of the first Diary volume broadens Nin’s readership and makes diary writing central to the later Reader’s selection.
1973
Swallow Press publishes the first career-spanning Nin selection, edited by Philip K. Jason.
2011
The Portable Anaïs Nin succeeds it as the standard one-volume introduction.

The modern successor — the same job with the full posthumous shelf available.
Read our take
The volume most of its new readers were arriving from.
Read our take
A 1973 one-volume selection from Nin's fiction, diaries, and criticism, edited by Philip K. Jason with an introduction by Anna Balakian, published by Swallow Press.
The writing is hers; the book is an editor's selection — we shelve it as selected writings rather than an original work.
Yes — in 1973, at the height of the Diary's fame, making it the only career-spanning selection she lived to see.
No — The Portable Anaïs Nin (2011) covers the fuller shelf, and the Diary's first volume remains the classic entry. The Reader's interest now is historical.
Philip K. Jason, the Nin scholar and bibliographer, edited the selection; Anna Balakian, the scholar of Surrealism, wrote the introduction.
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Harriet Zinnes's Reading Anaïs Nin, Carleton Miscellany, Fall/Winter 1973–74, pp. 124–126, in the publicly displayed eNotes excerpt. Used for the quoted laboratory passage and the review's account of rereading across forms. No complete anthology, original journal scan or primary-edition collation was inspected.
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