By Carole Maso
Good looks Is Convulsive is a biographical meditation on one of many 20th century's so much compelling and well-known artists, Frida Kahlo (1907-1954). on the age of 19, Kahlo's existence was once reworked whilst the bus within which she was once using was once hit by way of a trolley vehicle. Pierced by way of a metal handrail and damaged in lots of locations, she entered an extended interval of convalescence within which she started to paint self-portraits. In 1928, at twenty-one, she joined the Communist social gathering and got here to grasp Diego Rivera. The forty-one-year-old Rivera, Mexico's most famed painter, was once inspired via the strength of Kahlo's character and by means of the authenticity of her artwork, and the 2 quickly married. notwithstanding they have been dedicated to one another, intermittent affairs on each side, Frida's grief over her lack of ability to undergo a baby, and her common health problems made the wedding tumultuous. This prose poem is normal Maso --vigorous, bold, consistently unique. She brings jointly elements of Kahlo's biography, her letters, scientific records, and her diaries with language that's frequently as erotic and colourful as Kahlo's work.
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Extra resources for Beauty Is Convulsive: The Passion of Frida Kahlo
So South Australia, too, had some claim to being in the vanguard of the ‘woman movement’. Of course, Catherine Spence’s feminism was woven from far more strands of thought and activity than those which led to the successful campaign for female suffrage in South Australia. Likewise, that colony’s admission of women to formal citizenship depended on a much wider range of factors than Spence’s participation in its public life. But the two are, nevertheless, related. One of the purposes of this book is to explore that relationship: to explore not only the forces shaping Spence’s life, and not only what she made of the constraints and opportunities that she encountered, but also the relationship between that story and the story of South Australia.
Among people who shared her conversational inclinations she could be delightful. ’51 One of her greatest charms was her sense of hu15 Unbridling the tongues of women mour. It was like that of Bret Harte’s version of Aesop’s Fables, which she gave to a friend for Christmas:52 it had an edge, albeit a fairly blunt one. One of her favourite jokes was against herself, and she told it often. She arrived at a meeting to find that she had not been notified of several earlier meetings. She complained that she ‘did not want to be merely an ornamental member’ of that Board.
Most unusually for a woman of her period, she identified her fulfilment and happiness not with any private and personal relationship, but with her ambition and work, her ideas and ideals. If her aspirations and her work were her greatest passions, one of her strongest emotions was admiration for people whose work and ideas informed her own. She revered J. S. 75 She prized her acquaintance with Mill, Hare and George, recounted her meetings with them, and strove for the implementation of those of their ideas that she had grasped most strongly.