Although Anaïs Nin found in her diaries a profound mode of self-creation and confession, she could not reveal this intimate record of her own experiences during her lifetime. Instead, she turned to fiction, where her stories and novels became artistic “distillations” of her secret diaries. A Spy in the House of Love, whose heroine Sabina is deeply divided between her drive for artistic and sexual expression, on the one hand, and social restrictions and self-created inhibitions, on the other, echoed Nin’s personal struggle with sex, love, and emotional fragmentation. Written when Nin’s own life was taut with conflicting loyalties, her protagonist Sabina repeatedly asks herself, can one indulge in one's sensual restlessness, the fantasies, the relentless need for adventure without devastating consequences?

Children of the Albatross is divided into two sections: “The Sealed Room” focuses on the dancer Djuna and a set of characters, chiefly male, who surround her; “The Cage” brings together a case of characters already familiar to Nin’s readers, but it is their meeting place that is the focal point of the story

Collages is Anaïs Nin’s last work of fiction, and is, as the title suggests, a collection of interwoven stories, opening and closing with the passage: “Vienna was the city of statues. They were as numerous as the people who walked the streets. They stood on the top of the highest towers, lay down on stone tombs, sat on horseback, kneeled, prayed, fought animals and wars, danced, drank wine and read books made of stone.” The central character, Renate, is a sort of “master of ceremonies” for Nin’s modern fairy tales, as she floats through the narrative and communes, in one way or another, with each of the “storytellers.” Among them are: Varda, the artist whose interaction with his daughter causes him to spin story upon story in order to win her over to his artistic way of thinking; Henri the chef, who names each of his dishes after celebrities and has stories for the most interesting of them; Nina, a young woman whose spontaneous musings lead casual observers to believe she is insane; Nobuko, the Japanese actress whose charming commentaries and letters are laden with magical yet incorrect English; Bruce, whose betrayals to Renate with boys are written in story form hidden in Chinese puzzle boxes; Count Laudromat, the exiled royal whose father-in-law is an owner of laudromats; the French Consul and his wife, who are writers with extremely different outlooks on love and passion; John Wilkes, the “millionaire patron of the arts” who is actually a gardener; Dr. Mann, an Israeli with the unusual pastime of meeting and kissing famous women authors; and the enigmatic Judith Sands, who may have actually “written” Collages. Collages is Nin’s most light-hearted writing, and, in that sense, is perhaps her most entertaining book. As Henry Miller commented, “The best of collages fall apart with time; these will not.”

In Delta of Venus Anaïs Nin penned a lush, magical world where the characters of her imagination possess the most universal of desires and exceptional of talents. Among these provocative stories, a Hungarian adventurer seduces wealthy women then vanishes with their money; a veiled woman selects strangers from a chic restaurant for private trysts; and a Parisian hatmaker named Mathilde leaves her husband for the opium dens of Peru. Delta of Venus is an extraordinarily rich and exotic collection from the master of erotic writing

Originally published in 1936, House of Incest is Anaïs Nin’s first work of fiction. The novel is a surrealistic look within the narrator’s subconscious mind as she attempts to escape from a dream in which she is trapped, or in Nin’s words, as she attempts to escape from “the woman’s season in hell.” In the documentary Anaïs Observed, Nin says House of Incest was based on dreams she’d had for more than a year. Nin’s usage of the word incest in this case is metaphorical, not literal. In this book the word incest describes a selfish love where one can appreciate in another only that which is similar to oneself. One is then only loving oneself, shunning all differences. At first, such a self-love can seem ideal because it is without fear and without risk. But eventually it becomes a sterile nightmare. “House of Incest is a strange and challenging work that demands the full attention of the reader. It is not so much a story of people (although it certainly is that) as it is a visit into the hellish nightmare of the narrator’s experience from which she emerges satisfactorily. But, however one approaches the work, House of Incest is Nin’s best work of fiction and one that contains most of her basic themes, images and patterns that she would use in her later work.”

Ladders to Fire explores the erotic attachments of four young women. Nin described it as a “woman’s struggle to understand her own nature.” It began a five-volume “continuous novel,” Cities of the Interior, which includes Children of the Albatross (1947), The Four-Chambered Heart (1950), A Spy in the House of Love (1954), and Solar Barque (1959). Set in the pre-war, expatriate Paris of Henry Miller, this novel — which shocked Nin’s contemporaries — draws its inspiration from her confessional diaries. Although Nin found in her diaries a profound mode of self-creation and confession, she could not reveal this intimate record of her own experiences during her lifetime. Instead, she turned to fiction, where her stories and novels became artistic “distillations” of her secret diaries

Seduction of the Minotaur is an example of Anaïs Nin’s most mature and cohesive fiction. The central character, Lillian, arrives in an exotically primitive Mexico from New York, in part to forget her crumbling marriage and to find flow in her life after years of stasis. She befriends Dr. Hernandez, who, like Lillian, is also trying to forget, to escape, which he does with violence, shocking Lillian into facing her inner demon, the “Minotaur.” Critic Oliver Evans says of Seduction of the Minotaur: “Its symbolism is the most complicated of any of Miss Nin’s longer works… and at the same time it makes more concessions…to the tradition of the realistic novel: the result is a work of unusual richness.” Consider this passage: “It was the time of the year when everyone’s attention was focused on the moon. ‘The first terrestrial body to be explored will undoubtedly be the moon.’ Yet how little we know about human beings, thought Lillian. All the telescopes are focused on the distant. No one is willing to turn his vision inward… Such obsession with reaching the moon, because they have failed to reach each other, each a solitary planet!” Seduction of the Minotaur reveals Nin’s struggle for self-awareness through her character Lillian. In a setting that is sumptuously described, with fully developed characters, the plot involves the dichotomy between civilization and the primitive, the dark and bright sides of human nature, with a conclusion that is classic Nin: enlightenment. (Seduction of the Minotaur was originally published as Solar Barque in 1958)

The Four-Chambered Heart is an autobiographical novel by French-born writer Anaïs Nin, part of her Cities of the Interior sequence. It is about a woman named Djuna, her love, her thoughts, her emotions, her doubts, her decisions, and her sacrifices

Winter of Artifice is a collection of novelettes: ‘Stella,’ ‘Winter of Artifice,’ and ‘The Voice.’ “A handful of perfectly fold fables, and prose which is so daringly elaborate, so accurately timed… using words as magnificently colorful, evocative and imagist as any plastic combination on canvas but as mysteriously idiosyncratic as any abstract.”