SOLO CREO EN EL FUEGO 

I ONLY BELIEVE IN FIRE

SOLO CREO EN EL FUEGO se adentra en la relación entre la escritora francesa, Anaïs Nin, y el novelista estadounidense, Henry Miller, a través de las cartas que intercambiaron durante más de veinte años, desde que los literatos se conocen en el París de 1931 en un torrente de pasión, bohemia y literatura, hasta la última misiva fechada en Estados Unidos en 1953. La obra es un juego de espejos en el que los autores Carlos Martín-Peñasco y Ángela Palacios, adaptan a teatro la correspondencia y los escritos de Nin y Miller para hacerlos colapsar con sus propias biografías, sueños y complejos. El arte como forma de vida, los dilemas que plantea la vocación, la censura creativa o la autobigrafía y sus consecuencias son algunos de los temas que brotan de la historia de amor de estos dos escritores que persiguieron adaptarse a sí mismos en un mundo en el que no terminaban de encajar. Este es un delirante viaje a caballo entre la literatura y el metateatro en el que se plantea la búsqueda de respuestas de unos artistas a los que se les acumulan las preguntas en el camino a la trascendencia (o la supervivencia)

I ONLY BELIEVE IN FIRE tackles the relationship between the French writer Anaïs Nin and the American novelist Henry Miller, through the letters they exchanged for more than twenty years, since the writers met in Paris in 1931 in a torrent of passion, bohemianism and literature, until the last missive, dated in the United States in 1953. The piece is a game of mirrors in which the authors Carlos Martín-Peñasco and Ángela Palacios adapt to theater the correspondence and the writings of Nin and Miller to make them collapse with their own biographies, dreams and complexes. Art as a way of life, the dilemmas posed by vocation, creative censorship or autobiography and its consequences are some of the themes that spring from the love story of these two writers who sought to adapt themselves to a world in which they did not quite fit. This is a delirious trip between literature and the metatheater in which the artists seem to have more questions than answers on their way to transcendence (or survival).

Anaïs Nin (1903-1977)

She was a French writer born to Cuban parents, known for devoting her whole life to the writing of her intimate diaries. Nin began this literary feat at the age of twelve when her father left her, her mother, and her brothers. What began as a letter of pain to her father ended up being only the first of the thirty-five thousand pages that Nin would complete by the end of her life, and that would revolutionize twentieth-century literature once published.

 

The road to publication was not easy for Anaïs, trapped in the human problem that involved revealing her deepest secrets, and the consequences this would have on her marriage and her relationship with her own family. Nin found in Henry Miller the first ally to encourage her to publish her intimate work and show it to the rest of the world.

Henry Miller (1891-1980)

It was not until he was thirty-three years old that Henry Miller (1891-1980) decided to leave his conventional life and bet on his writing career. Encouraged by his second wife, June Mansfield, Miller left New York and settled in Paris to mingle with the bohemian of the time and find himself as a man and an artist.

 

Anaïs and Henry met in 1931, when Miller lived in Parisian slums while trying to finish his book "Tropic of Cancer". Nin made it a personal crusade to see Miller’s novel published, which happened for the first time in 1934.

 

That same year, "Tropic of Cancer" was censored in the United States and brought to trial for obscenity due to the high sexual voltage of this autobiographical work. Miller had to wait twenty-five years to see his book published in his country, but not before being boosted by collectives such as the Beat Generation as one of the essential writers of the time.