LYCOS RETRIEVER 
Frida Kahlo: Pain
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What looked like a fad a decade ago has only grown stronger as Kahlo has been embraced as a poster child for every possible politically correct cause. By 1998, Cosmopolitan magazine was urging women to read Kahlo's biography as one of 10 ways to "celebrate National Women's Month." In a new book of essays celebrating resistance to the evils of global capitalism, John Berger writes an homage to Kahlo saying, "That she became a world legend is in part due to the fact that . . . under the new world order, the sharing of pain is one of the essential preconditions for a refinding of dignity and hope."
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It was during Kahlo's convalescence from the bus accident that she began painting. Kahlo was required to spend long periods of time flat on her back in bed, so her mother bought her a special easel that she could use despite her physical limitations. She began to express her explosive feelings trough painting.
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A famous painter of heroic revolutionary murals, Rivera was much older than Kahlo and incapable of sexual fidelity. When he began an affair with her sister, Kahlo left Mexico. However, she forgave him this and other infidelities. She divorced Diego in 1940, but remarried him later the same year.
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In 1939 Diego and Frida divorced, and Frida felt very sad and distraught by this. She produced many fine paintings in this period, but being devastated by the divorce, she consumed a lot of liquor, and her health deteriorated rapidly. She had circulatory and other problems associated with the incidents she had had before.
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Gloria Anzalduá's Borderlands/La Frontera (1987), although more recent and informed by contemporary critical theory, explores many of the same issues of cultural identity found in Kahlo's paintings. The following excerpts are from version of Anzaldúa's text that appeared in Ways of Reading, Third edition, David Bartholomae and Anthony Petrosky eds:
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