{"id":19688,"date":"2011-08-22T15:48:52","date_gmt":"2011-08-22T19:48:52","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=19688"},"modified":"2018-12-03T16:29:56","modified_gmt":"2018-12-03T21:29:56","slug":"frida%e2%80%99s-corsets","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2011\/08\/22\/frida%e2%80%99s-corsets\/","title":{"rendered":"Frida\u2019s Corsets"},"content":{"rendered":"

 <\/p>\n

Frida Kahlo wore plaster corsets for most of her life because her spine was too weak to support itself. She painted them, naturally, covering them with pasted scraps of fabric and drawings of tigers, monkeys, plumed birds, a blood-red hammer and sickle, and streetcars like the one whose handrail rammed through her body when she was eighteen years old. The corsets remain to this day in her famous blue house\u2014their embedded mirrors reflecting back our gazes, their collages bringing the whole world into stricture. In one, an open circle has been carved into the plaster like a skylight near the heart. <\/p>\n

\"\"<\/a>

Photograph by Juan Guzm\u00e1n. Courtesy collection Galeria L\u00f3pez Quirog.<\/p><\/div>\n

Charles Baxter once found what he called \u201cthe last appeal\u201d in a scene from Sherwood Anderson, a woman running naked in the rain, begging attention from an old deaf man. \u201cHer body,\u201d he writes, \u201cher last semiotic appeal, or vulnerability, or precious secret\u2014it\u2019s all of these things, but it will not be reduced to one meaning\u2014carries the burden of her longing, and becomes the record of erasure.\u201d<\/p>\n

Frida\u2019s corsets hardened around unspeakable longing. They still frame an invisible woman, still naked in her want, still calling to deaf men in the rain. I find them beautiful. She would have given anything, perhaps, to have a body that rendered them irrelevant.<\/p>\n

Frida Kahlo and Diego Rivera were married eighty-two years ago yesterday, on August 21, 1929. She was twenty-two, he was forty-three. She used to call the two of them \u201cpareja extra\u00f1a del pa\u00eds del punto y la raya<\/em>,\u201d strange couple from the land of dot and line. In her diary, she draws them as Nefertiti and her consort, Akhenaten. Akhenaten has a swollen heart, and ribs like claws around his chest. He has testicles that look like a brain, a penis that looks like his lover\u2019s dangling breast. Below is written \u201cBorn to them was a boy strange of face.\u201d Nefertiti carries in her arms the baby Frida couldn\u2019t have.<\/p>\n

We find Diego like a virus through the diary pages. \u201cDiego, nothing compares to your hands. The hollow of your armpits is my shelter. I have stolen you and I leave weeping. I\u2019m just kidding. My Diego: Mirror of the night.\u201d Once: \u201cHe who sees the color\u201d and beneath that, of herself, \u201cShe who wears the color.\u201d Sometimes just, \u201cDIEGO.\u201d Or \u201cDiego, beginning. Diego, builder. Diego, my father, \u2018my husband,\u2019 my child.\u201d<\/p>\n

\u201cToday Diego kissed me,\u201d she wrote once, then crossed it out.<\/p>\n

\"\"<\/a>

Two pages of Kahlo’s diary.<\/p><\/div>\n

It was also in August, twenty-four years after her wedding, that Frida finally lost her leg. Withered by polio, fractured in eleven places by the streetcar crash, it succumbed to gangrene and was amputated. She died the next year, as if this loss\u2014after so much\u2014was what she finally couldn\u2019t bear. She had forgiven her body so many betrayals, only to watch it taken from her in pieces. She was fitted with a wooden leg, but her drinking made balance tricky.<\/p>\n

Frida loved her doctors. She thanks them over and over again in her diary: \u201cgracias al Dr. Ram\u00f3n Parres, gracias al Dr. Glusker, gracias al Dr. Farill, gracias al Dr. Polo … \u201d She thanks them for their integrity, their intelligence, their affection. She associates their science with the color green. Sadness is green as well. Also leaves and the nation of Germany. She has an entire vocabulary of color. Brown is mole and leaves becoming earth. Bright yellow is for the undergarments of ghosts.<\/p>\n

\"\"<\/a>Riding a bus at eighteen, Frida stood next to an artisan carrying a pouch of gold dust. When the streetcar hit them, his pouch was broken open by the force of the collision and Frida\u2019s body, ruined on concrete, was covered in what the pouch held. Gold was sunlight on asphalt. Gold was the gleam of metal through an open wound. Magenta, on the other hand, was the color of blood. \u201cEl m\u00e1s vivo y antiguo<\/em>,\u201d Frida called it\u2014the most alive, the oldest shade. \u201cHe who sees the colors.\u201d Frida was the one who had to wear them.<\/p>\n

Frida kept a collection of ex-votos, paintings offered in thanks to saints. These small scenes show angels hovering over the infirm and the saved, their tiny bodies curled in prostrate postures of gratitude or suffering. Cursive captions offer summaries so brief (\u201cI was crushed by a horse; the horse was startled by a snake\u201d) they seem gags clamped over the full stories. Ex-votos are full of Frida\u2019s hope, and her stubbornness: hers was a body pulled almost gravitationally toward injury, and yet her paintings point ceaselessly at grace.<\/p>\n

Two facing pages of her diary show a pair of matching goblets, each bearing the face of a woman: full lips, broad nose, fixed eyes curling tears from their corners. One face is angry, purple and red, bruised and bleeding shades, captioned, \u201cno me llores.<\/em>\u201d Don\u2019t cry for me. Don\u2019t weep to me. The other face is alabaster pale with blushing stains on its cheeks: \u201csi, te lloro.<\/em>\u201d I cry for you. I weep to you. I leave weeping. I\u2019m just kidding.<\/p>\n

Don\u2019t weep to me.<\/em> The wounded one will not permit herself. And yet, does.<\/p>\n

Leslie Jamison is the author of <\/em>The Gin Closet<\/a>. <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

  Frida Kahlo wore plaster corsets for most of her life because her spine was too weak to support itself. She painted them, naturally, covering them with pasted scraps of fabric and drawings of tigers, monkeys, plumed birds, a blood-red hammer and sickle, and streetcars like the one whose handrail rammed through her body when […]<\/p>\n","protected":false},"author":227,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[3359,1771,3362,3357,3356,3361,3220,3358,67,3360],"class_list":["post-19688","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-akhenaten","tag-charles-baxter","tag-corset","tag-diary","tag-diego-rivera","tag-ex-voto","tag-frida-kahlo","tag-nefertiti","tag-painting","tag-polio"],"acf":[],"yoast_head":"\nFrida\u2019s Corsets by Leslie Jamison<\/title>\n<meta name=\"description\" content=\"August 22, 2011 \u2013   Frida Kahlo wore plaster corsets for most of her life because her spine was too weak to support itself. 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