Delta of Venus

"Extremely urgent and this is the most important thing in it."

This statement implies a sense of great urgency and significance. When something is described as "extremely urgent," it means that immediate action or attention is required. It could be a matter of great importance that cannot be delayed.

The phrase "this is the most important thing in it" further emphasizes the significance of the particular matter at hand. It suggests that among all the other elements or aspects, this one holds the highest priority.

Urgency and importance often go hand in hand. When faced with an extremely urgent situation, it is crucial to focus on the most important thing and take the necessary steps to address it promptly. This may involve making quick decisions, allocating resources effectively, and mobilizing all available efforts to achieve a timely resolution.

In conclusion, the combination of "extremely urgent" and "the most important thing" indicates a situation that demands immediate and focused attention. It is essential to recognize the significance of such matters and take appropriate action to ensure a successful outcome.

Delta Venus is an erotic adventure in the worlds of pleasure and the human web in its unique excess. It is, of course, not suitable for those under twenty years old, nor does it suit readers with a conservative nature or those who raise the flag of "pure literature" in their choice of readings. In my personal opinion, it is necessary to come across such novels that our conservative Eastern society may despise and label as "literary works." The personal experience of Anais Nin in the events of her era, the places she went to, and the thinkers, writers, and celebrities she associated with, especially Henry Miller, opens for us as readers the other side of the world, providing access to Western culture and thought and explaining to us the nature of those human souls that may be filled with the ordinary but then soar and long for everything strange or unusual.

Those who have read in the theory of psychoanalysis and the books written by the famous Austrian psychiatrist Sigmund Freud, such as Beyond the Pleasure Principle, The Interpretation of Dreams, The Ego and the Id, An Outline of Psychoanalysis, The Unconscious, and Three Essays on the Theory of Sexuality, or have looked at the works of the American writer Henry Miller in his famous trilogy Tropic of Cancer (Cancer - Capricorn - Leo), and his other trilogy that讲述了 his diaries in Paris (The Rosy Crucifixion - Black Spring - The Air-Conditioned Nightmare), or are aware of the famous novels of Leopold von Sacher-Masoch (Venus in Furs), and the memoirs and writings of the Marquis de Sade such as One Hundred and Twenty Days of Sodom - The School of Libertinage and Justine - The Misfortunes of Virtue, can find in the theories and their corresponding practical applications and stories what enriches their knowledge and confirms the examples of fictional stories in Delta Venus that Anais Nin detailed as if they were diaries of real-life events.

This novel and its like in Eastern or world literature clearly discuss the ongoing debate of the conflict between the human soul and mind; that eternal conflict that was one of the axes of the novel The Master of the Garden of Beans, which is one of the most famous science fiction dystopian novels in Arabic literature by the Egyptian writer and journalist Sabri Moussa, the author of the famous novel The Decay of the Possible. Here, I am reminded of a very important quote from the novel The Master of the Garden of Beans, which explains to us the nature of that conflict and the need to be aware of it and analyze it to understand much of what we experience in terms of crises and problems on planet Earth: "The unfortunate thing is that the part of the human brain responsible for speech, thinking, and logic has developed well, while the part responsible for instincts and emotions has remained as it is without development; thus, a human species has emerged that is not intellectually balanced due to this conflict between the mind and instincts, between thinking and emotion, and this split within the human brain has led to all those disasters that humanity has brought."

Anais Nin lived her life as she wrote in her novels and stories. In Paris as well as in the United States, she had a prominent presence in writing, love, ideas, and diaries rich in experiences and fictional writing. And Delta Venus is one of her most important novels that is open to the forms of love and life.

Professor Muhammad Sawilh talks about the novel Delta Venus, where he believes that Anais Nin penetrates a secret world with this novel and illuminates it from within, by the narrator's acceptance of impulses, desires, and passions, and reveals characters who control their voluptuous lives and tells about the pursuit of moments of pleasure wherever they are, in alleys and under bridges, in dark streets and in palaces. It is true that Anais Nin wrote these stories under the pressure of the need for money, but she created a literary genre of her own, which will be invaded by future generations as a haven for a freedom that was lacking and prohibited, and a license that violates the strict social values.

Perhaps today's Arab female writings, in their boldness towards the prohibited, owe a great deal to that pioneering female writer who preceded her era, revealing the throes of the excited body and its movements without shame. There is a half-century gap between the revelations of Anais Nin and the Arab erotic experiments that are severely punished under the pretext of shocking public decency.

It is worth mentioning that there are many Arab female novelists who address the sexually prohibited in their writings; something that the Arab does not accept to be written but surprisingly accepts to be heard in contemporary oral novels, from incest to sexual perversion (homosexuality and others), to sadomasochism. They thus broke one of the taboos of writing in literature, among them: Sahar Abu Awad in her novel My Father's Mistress, Alia Sabah in her novel His Name is Love, Fadila Farouk in her novel The Discovery of Lust, Hozama Habib in her novels The Source of Desire and Musk, Munira Biran in her novel I Will Tell You So That You See, Salwa Al-Na'imi in her novel The Proof of Honey, Ghaliya Muhammad in her novel The Flutter, Amal Jarrah in The Cursed Novel, Lina Kreidy in her novels The Women of Joseph and Khanazadeh, and Mas'uda Abu Bakr in her novel Tarshqana.

What this book managed to achieve in 280 pages was to make me feel sick.

There are 15 erotic stories but all of them are taken to the extreme: rape, incest, humiliation, ridicule and many other unpleasant things.

What I really disliked was the fact that, during the act (and here I'm referring to the one without explicit consent), towards the end, the author feels the need to say that nevertheless the person "in question" starts to feel good, as if it's not that bad. And this didn't happen just once. You can't save it anymore, just leave it like that.

It's not as if I had expectations from the reading, I haven't read anything else by Anais Nin, but I was curious. Well, I did that too.

Tricky one indeed. The question of how to write well about sex is a complex and delicate matter. On one hand, too much metaphor can lead to a degradation of the words in a frenzy of filth. On the other hand, too little can make it seem cold and clinical. Additionally, issues such as gender politics, the fluidity of sexuality and sexual identity, and different sexual kinks all come into play. It's like walking a fine tightrope.

What initially disturbed me was the mention of children. Oh God, I hoped it wouldn't be anything like 120 Days of Sodom! Thankfully, it wasn't. What followed were deeply engaging chronicles of interconnected sexual episodes. I have to admit, I was taken aback by just how explicit they were. I was expecting more tame descriptions like "he fondled her breasts" or "he gently stroked her inner thighs whilst gazing into her eyes". While there were indeed some lines along these lines, two thirds of the time it was mostly pornographic in detail, which I won't go into. I'm sure we're all old enough to get the picture.

Nin, “the madam of a house of literary prostitution” in the 1940s, was commissioned to write by an anonymous collector who demanded that she “leave out the poetry” of sex. Fortunately, Nin ignored him, and her stories contain a strong sense of the poetic mixed with the sensual. This is especially highlighted by her emphasis on the exotic, both in character and locale. Another thing that surprised me was how well she wrote. It's dirty, but always engaging. This allowed Nin to present a sexual freedom that was incredibly forward-looking for the time, and especially revolutionary from a female perspective. Even now, reading this in the 21st century, the content still shocks me.

While the characters and their situations are fun and enjoyable, it only really worked for me in the longer stories. This gave more of a chance to get to know the characters. Nin also fills the book here and there with moments of pathos and yearning, which are mainly saved for the second half. The final episode, which deals with war breaking out and the dream coming to an end, even has a Fitzgerald-like quality that definitely outshines what came before. It's a bit over 200 pages long, but still felt overly long, perhaps due to its repetitive nature. The word "penis" seemed to be mentioned about a million times. However, I felt the last third was its strongest point.

For me, it's a three-star read. But when it comes to writing about sex, at least the book did feature five-star orgasms!

Erotic literature is a subtle art form.

It is like a delicate soap bubble that has the power to catch your attention, make you hold your breath, and arouse your desire to touch and engage with it, even though you are aware of its fragility and transience.

Anaïs Nin possesses the grace and allure of that soap bubble. Through her sure and clear language, which is never vulgar or coarse, she leads you along the paths of the bodies of both women and men.

She does this without causing you to blush, but rather by kindling puffs of voluptuous desire within you.

You have the option to read her works accompanied, if you prefer to read in episodes, or you can choose to read alone to fully embrace Anaïs's literary class and understand what makes eroticism both tremendous and correct.

Let us turn our backs on the Puritans. They are well aware of what they are forfeiting, as it has been presented to them.

Anaïs's descriptions of bodies are filled with unrestrained love and passion.

Escritos por encargo, estos relatos abordan el universo del erotismo desde diferentes perspectivas. Algunos exploran las más sutiles facetas del deseo, mientras que otros se adentran en lo más perverso. Los personajes que habitan estos relatos experimentan sin pudor su sexualidad, descubriendo las innumerables posibilidades que existen. A veces, estos relatos pueden resultar incómodos, ya que desafían nuestras convenciones y expectativas. Sin embargo, la prosa que los acompaña prioriza los sentidos, transportando al lector a un mundo donde el placer y la pasión son los protagonistas. A través de palabras cuidadosamente elegidas, el autor logra crear una atmósfera sensual y envolvente que cautiva al lector y lo hace sumergirse en el universo del erotismo.

It's a rather challenging task to rate this book, and there are several reasons for that.

The writing style is exquisitely lyrical, and I'm certain that some of the character portrayals will linger in my mind. For instance, the keeper of Balzac's house, a distant mummified woman safeguarding a distant mummified place, truly merits her own novel. However, the stories were initially crafted primarily to titillate an undemanding client. As a result, with a few exceptions, the stories and characters seem hazy and underdeveloped - almost thrown together, if you'll excuse the expression.

Reading countless descriptions of sex can also, in the end, become quite tiresome. After all, no one picked up Playboy for the articles.

The other reason I'm finding it hard to rate this book goes a bit deeper.

The book serves as a good reminder that sex wasn't invented in the 1960s, and whatever you've engaged in, your grandparents likely did it before you (sorry). But that doesn't mean it was written in a time when open discussion of sexual acts was more acceptable. I've never better understood the saying "when nothing is permissible, everything is".

Much of what is described in the book is more or less conventional - at least by modern standards. However, there's also a significant amount that most definitely isn't, and most definitely isn't okay. Just as you start to get into the rhythm of sex-positive feminist writing, you'll suddenly be confronted with descriptions of rape, child abuse, bestiality, or necrophilia - all described in the same tone as consensual adult sex. And that, to say the least, is extremely off-putting.

So while a great deal of Nin's writing is very fine, a lot of what she describes is actually rather horrible and presented in a way that appears to be intended to excuse or romanticize it. And thus, I really don't feel I can assign it any sort of rating. For the writer's ability, the score should be very high; but for the use to which she puts it, it should be less than zero.

My opinion on https://youtu.be/G2doTZcXpEk.

I found the content in the video to be overly explicit. It really left me quite perturbed.

The way certain things were presented was just too much for my liking. It made me feel uncomfortable and a bit shocked.

I think there should be some boundaries when it comes to what is shown in such videos. Maybe a bit more discretion and thought could have been put into the production to make it more acceptable for a wider audience.

Overall, this video did not meet my expectations and I would not recommend it to others without warning them about its explicit nature.