House of Incest the Audiobook written by Anais Nin

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Project Main Details

House of Incest the Audiobook written by Anais Nin 
This is a casting call for the Audiobook version of Anais Nin's classic novel "House of Incest". This will be a relatively short project (72 pages in print).


Originally published in 1936, House of Incest is Anais 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 Anais 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.

Preferred Gender of narrator: Female 
2016-11-21 23:27:03 GMT
2016-12-01 17:00:00 (GMT -05:00) Eastern Time (US & Canada) 
Yes (click here to learn more about Voice123's SmartCast)
0 direct invitation(s) have been sent by the voice seeker resulting in 0 audition(s) and/or proposal(s) so far.
Voice123 SmartCast is seeking 10 auditions and/or proposals for this project (approx.) Invitations sent by SmartCast have resulted in 7 audition(s) and/or proposal(s) so far.

Project Parameters

The Voice Actor should be located in:
To be defined
English - USA and Canada
Not defined
Young Adult Female OR Middle Age Female
• Audio files must be delivered via email OR
• Audio files must be delivered via FTP/Dropbox/Google Drive/cloud
There are no special pre-, post-, or production requirements for this project.
Not defined
The voice seeker is willing to hire either union or non-union talents for this project

Script Details


Only our faces must shine twofold—like day and night—always separated by space and the evolutions of time.
The smoke sent my head to the ceiling; there it hung, looking down upon frog eyes, straw hair, mouth of soiled leather, mirrors of bald heads, furred monkey hands with ham colored palms. The music whipped the past out of its tomb and mummies flagellated my memory.
In Sabina were now memory; if i should sit here and should never come again! If I only imagined her one night because the drug made fine incisions and arranged the layers of my body on Persian silk hammocks, tipped with cordon each fine nerve and sent the radium arrows of fantasy through the flesh…
I am freezing and head falls down through a thin films of smoke. I am searching for Sabina again with deep anguish through the faceless crowd.
I am ill with the obstinacy of images, reflections in cracked mirrors. I am a woman with Siamese cat eyes smiling always behind my gravest words, mocking my own intensity. I smile because I listen to the OTHER and I believe the OTHER. I am a marionette pulled by unskilled fingers, pulled apart, inharmoniously dislocated; one arm dead, the other rhapsodizing in mid-air. I laugh, not when it fits into the undercurrents of my talk. I want to know what is running underneath thus punctuated by bitter upheavals. The two currents do not meet. I see two women in me freakishly bound together, like circus twins. I see them tearing away from each other. I can hear the tearing, the anger and love, passion and pity. When the act of dislocation suddenly ceases—or when I cease to be aware of the sound—the the silence is more terrible because there in nothing but insanity around me, the insanity of things pulling, pulling within oneself, the roots tearing at each other to grow separately, the strain made to achieve unity.
It requires only a bar of music to still the dislocation for a moment; but the comes the smile again, and i know that the two of us have leaped beyond cohesion. 
Please note that you should only use the script or your recording of it for auditioning purposes. The script is property, unless otherwise specified, of the voice seeker and it is protected by international copyright laws.

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