Her method of journalism ran so deep in her psyche that she couldn't tell her fabrications apart from reality. She regularly created stories from loosely related details that she may not have heard correctly, which she connected using her own imagination. However, she has or used to have a very forceful personality, and she often made quick judgments and leaped to conclusions without supporting evidence. However, ever since the secret face of her gossip blog, the Ghostly Gossip, was revealed, she has become more outgoing and less secretive. She used to be shy and reclusive, whispering her phrases, hanging by herself, and comfortable with that and, in fact, benefiting from her mysterious aura to blend in and watch her stories unfold beneath her eyes, spying on the students for scoops. However, her family thought it was better to leave their world and do something very little ghosts thought to: cross borders to the Monster World. What is for certain is that she once lived in the Ghost World, her first home, and used to attend Haunted High, befriending who would later become her closest friend, Kiyomi Haunterly. However, due to expressions from her behalf, like mentioning her death Fright On!, it is safe to assume that she was a human at a certain time, implied to be from the 19th century. Until further reveal, that truth is still unknown. In her diary it's hinted that she's constructed a mysterious, fanciful history for herself, and even began to believe it herself, but that the truth about her family is actually quite tragic. In fact, she is quite reluctant to uncover anything about her past. Spectra's past is probably one of the most covered mysteries within the Monster High community. The "Ghost Girl" is portrayed by Catina Duscio. Though Spectra herself does not make an appearance in the music video for the Monster High Fright Song, there are several different character ghost analogues who received creative interpretation by the video crew. According to the translator’s wife, Barbara Cardona-Hine, bringing the work into English was a labor of love for Alvaro, the fulfillment of a promise made to his brother in 1971 that he did not get to until the year before his own death in 2016.She is voiced by Erin Fitzgerald in English. Finally, this extraordinary and rare exchange has been translated for the first time into English by Alfredo’s half-brother Alvaro Cardona Hine, also a poet. His book of compiled interviews with introduction and preface, El Monstruo en su Laberinto, was published in Spanish in 1965. The monster within us painting series#I don't know how many questions ‘til the small hours of the night, with him answering from memory, with an incredible accuracy, without pausing, without worrying much about what he might be saying, all of it spilling out in an unconscious and magical manner.Ī series of Alfredo Cardona-Peña’s weekly interviews with Rivera were published in 19 in the Mexican newspaper, El Nacional, for which Alfredo was a journalist. He invited me into his studio, and while taking off his jacket, said, “Ask me.”Īnd I asked one, two, twenty. I was able to explain my idea to him and he was immediately interested. the night of August 12, a slow, heavy-set, parsimonious Diego came in to where I was, speaking his Guanajuato version of English and kissing women’s hands. In his rich introduction, author Cardona-Peña describes the difficulty of gaining entrance to Rivera’s inner sanctum, how government funtionaries and academics often waited hours to be seen, and his delicious victory.Īt eight p. The work is all the more remarkable to have been captured between Rivera’s inhumanly long working stints of six hours or even days without stop. They begin with childlike, yet vast questions on the nature of art, run through Rivera’s early memories and aesthetics, his views on popular art, his profound understanding of Mexican art and artists, the economics of art, random expositions on history or dreaming, and elegant analysis of art criticisms and critics. The book has seven chapters that loosely follow the range of the author’s questions and Rivera’s answers. Here in his San Angelín studio, we hear Rivera’s feelings about the elitist aspect of paintings in museums, his motivations to create public art for the people, and his memorable, unedited expositions on the art, culture, and politics of Mexico. These intimate Sunday dialogues with what is surely the most influential Mexican artist of the twentieth century show us the free-flowing mind of a man who was a legend in his own time an artist who escaped being lynched on more than one occasion, a painter so controversial that his public murals inspired movements, or, like the work commissioned by John D. A year of weekly interviews (1949-1950) with artist Diego Rivera by poet Alfredo Cardona-Peña disclose Rivera’s iconoclastic views of life and the art world of that time.
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