Anaïs Nin – The LSD trip whose description she fabricated
Type of Spiritual Experience
This is fiction, even though it widely circulates amongst those interested in this area as a classic case of LSD use. It shows how a writer with a vivid imagination can write up whatever she or he wants if they believe it adds to the overall image and mystique of their persona.
Her real LSD experience was a very very bad trip, so bad it might have had permanent psychological effects. But the only one who knew the details of this was Dr Janiger and his records of this were not published.
The fabrication of this experience also calls into question the veracity of her other supposedly autobiographical writing.
A description of the experience
The Diary of Anais Nin, Vol. 5: 1947-1955
It seemed strange to be coming to a psychiatrist’s office for such an adventure. Dr. Janiger took Gil and me into his private office, which was lined with books and very dark. I had little time to form an impression of him, for he immediately dispensed a number of blue pills, five or eight, I do not remember, with a glass of water. The he conducted us to the waiting room, where the biologist sat already with a pad on his knee, pen in hand.
At first nothing appeared unchanged. But after a while, perhaps twenty minutes, I noticed first of all that the rug was no longer flat and lifeless, but had become a field of stirring and undulating hairs, much like the movement of the sea anemone or a field of wheat in the wind. Then I noticed that doors, walls, and windows were liquefying. All rigidities disappeared. It was as if I had been plunged to the bottom of the sea, and everything had become undulating and wavering. The door knobs were no longer door knobs, they melted and undulated like living serpents. Every object in the room became a living, mobile breathing world. I walked away, into a hallway opening into several small rooms. On the way there was a door leading to the garden. Gil opened it. The dazzle of the sun was blinding, every speck of gold multiplied and magnified. Trees, clouds, lawns heaved and undulated too, the clouds flying at tremendous speed. I ceased looking at the garden because on the plain door now appeared the most delicate Persian designs, flowers, mandalas, patterns in perfect symmetry. As I designed them they produced their matching music. When I drew a long orange line, it emitted its own orange tone. My body was both swimming and flying. I felt gay and at ease and playful.
There was perfect connection between my body and everything that was happening. For example, the colors in the designs gave me pleasure, as well as the music. The singing of mocking birds was multiplied, and became a whole forest of singing birds. My senses were multiplied as if I had a hundred eyes, a hundred ears, a hundred fingertips. The murals which appeared were perfect, they were Oriental, fragile, and complete, but then they became actual Oriental cities, with pagodas, temples, rich Chinese gold and red altars, and Balinese music. The music vibrated through my body as if I were one of the instruments and I felt myself becoming a full percussion orchestra, becoming green, blue, orange. The waves of the sounds ran through my hair like a caress. The music ran down my back and came out of my fingertips. I was a cascade of red-blue rainfall, a rainbow. I was small, light, mobile. I could use any method of levitation I wished. I could dissolve, melt, float, soar. Wavelets of light touched the rim of my clothes, phosphorescent radiations.
I could see a new world with my middle eye, a world I had missed before. I caught images behind images, the walls behind the sky, the sky behind the infinite. The walls became fountains, the fountains became arches, the domes skies, the sky a flowering carpet, and all dissolved into pure space. I looked at a slender line curving out into space which disappeared into infinity. I saw a million zeros on this line, curving, shrinking in the distance, and I laughed and said: “Excuse me, I am not a mathematician. How can I measure the infinite?” To Dr. Janiger, who was passing by, I said: “Without being a mathematician I understood the infinite.” He did not seem impressed. I saw his face as a Picasso, with a slight asymmetry. It seemed to me that one of his eyes was larger, and this eye was prying into my experience, and I turned away. Gil was sometimes there, but now I became aware that he was a child, that he had a big round face with a grin.
Now I was standing on the rim of a planet, alone. I could hear the fast rushing sound of the planets rotating in space. Then I was moving among them and I realized a certain skill would be necessary to handle this new means of transportation. The image of myself standing in space and trying to get my “space legs” amused me. I wondered who had been there before me and whether I would return to earth. The solitude distressed me and for the first time, the sense of distance, so I asked Gil very vehemently: “Are you sure that I will find my way back?” Gil answered reasonably: “Of course, I found my way back. I’m here.” He asked if there was anything I wanted, a glass of water or a sandwich. I answered: “I want a pagoda.” And after a while I added: “I realize this is an unreasonable request.”
I returned to my starting point. I was standing in front of an ugly door, but as I looked closer it was not plain or green but it was a Buddhist temple, a Hindu column, a Moroccan ceiling, gold spires being formed and re-formed as if I were watching the hand of a designer at work. I was designing red spirals which unfurled until they formed a rose window or a mandala with edges of radium. As each design was born and arranged itself, it dissolved and the next one followed with confusion. Each form, each line emitted its equivalent in music in perfect accord with the design. An undulating line emitted music in perfect accord with the design. An undulating line emitted a sustaining undulating melody, a circle had corresponding musical notations, diaphanous colors, diaphanous sounds, a pyramid of ascending notes, and vanishing ones left only an echo. The designs were preparatory sketches for entire Oriental cities. I saw the temples of Java, Kashmir, Nepal, Ceylon, Burma, Cambodia, in all the colors of precious stones illumined from within. Then the outer forms of the temples dissolved to reveal the inner chapels and shrines. The reds and golds inside the temples created an intricate musical orchestration like Balinese music. Two sensations began to torment me: one that it was happening too quickly and that I would not be able to remember it, another that I would not be able to tell what I saw, it was too elusive and too overwhelming. The temples grew taller, the music wilder, it became a tidal wave of sounds with gongs and bells predominating. Gold spires emitted a long flute chant. Every line and color was constantly breathing and mutating.
It was then I began to experience difficulties in breathing. I felt immensely cold, and very small in my cape, as if I had undergone an Alice in Wonderland metamorphosis. I told Gil I could not breathe, and he took me to the doctor. The doctor calmed me with his words. I had asked for oxygen. He suggested I lie down and cover myself well. Gil was seated near me, grinning. I asked him if he had had difficulties breathing. I still had the impression that I had been among the planets. I remembered the illustration from Saint-Exupery’s Little Prince, the child standing all alone on the edge of the planet. I lay down and covered myself. I looked at the curtains of the room and they turned to a gauzy gold. The whole room became filled with gold, as if by a strong sun. The walls turned to gold, the bedcover was gold, my whole body was becoming gold, liquid gold, scintillating, warm gold. I was GOLD. It was the most pleasurable sensation I had ever known, like an orgasm. It was the secret of life, the alchemist’s secret of life. From the feeling of intense cold, as if I were chloroformed, of loss of gravity of the legs, and diminution in size, I passed to the sensation of being gold.
Suddenly I was weeping, weeping. I could feel the tears and I saw the handkerchief in my hand. Weeping to the point of dissolution. Why should I be weeping? I could see Gil smiling, and realized the absurdity of weeping when traveling through space. As soon as the concept of absurdity struck me, the comic spirit appeared again. It was another Anaïs, not the one which was lying down weeping, but a small, gay, light Anaïs, very lively, very restless and mobile. The comic spirit of Anaïs was aware of Gil’s predicament: “Poor Gil, you are out with an ordinary weepy female! What a ridiculous thing to spoil a voyage through space by weeping. But before we go on, I want to explain to you why women weep: IT IS THE QUICKEST WAY TO REJOIN THE OCEAN. You liquefy, become fluid, flow back into the ocean where the colors are more beautiful.” The comic spirit of Anaïs shook herself jauntily and said: “Let’s stop this weeping. Everything is more wonderful under water (than in space?). It is alive and it breathes.” Space was lonely, and empty, a vast desert. After the feeling of GOLD I had a feeling of danger. My world is so beautiful, so beautiful, but so fragile. I was pleading for protection of this evanescent beauty. I thought I was the quickest mind alive and the quickest with words, but words cannot catch up with these transformations, metamorphoses. They are beyond words, beyond words. The Oriental cities vanished and the infinite appeared again, but now it was bordered on each side by the celestial gardens of precious stones on silver and gold stems. Temptation not to pursue the infinite, but to enjoy the gardens. Space is definitely without sensuous appeal.
The comic spirit of Anaïs stood aside and laughed at so much Russian-opera extravaganza. But the other Anaïs maintained her pose as a Balinese dancer with legs slightly bent, the tips of the fingers meeting in a symbolic gesture of pleading.
I watched a shoreline of gold waves breaking into solid gold powder and becoming gold foam, and gold hair, shimmering and trembling with gold delights. I felt I could capture the secret of life because the secret of life was metamorphosis and transmutation, but it happened too quickly and was beyond word. Comic spirit of Anaïs mocks words and herself. Ah, I cannot capture the secret of life with WORDS.
The secret of life was BREATH. That was what I always wanted words to do, to BREATHE. Comic spirit of Anaïs rises, shakes herself within her cape, gaily, irresponsibly, surrenders to the mystery of life.
Now I know why fairy tales are full of jewels.