To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
CAROLYN FORCHE’S What You Have Heard Is True (Allen Lane, £25) is an electrifying memoir in which the acclaimed US poet tells how she became an activist in El Salvador during the late 1970s and early 1980s.
Forche’s was a trial by fire. She recounts how, as a 27- year-old poet and young teacher living in southern California, she became involved in El Salvador’s civil war through her contact with Leonel Gomez, nephew of Salvadorian poet Claribel Alegria.
If true, the photo’s history is a damning indictment of the systematic exploitation of non-Western journalists by Western media organisations – a pattern that persists today, posit KATE CANTRELL and ALISON BEDFORD
CARL DEATH introduces a new book which explores how African science fiction is addressing climate change
MIKE QUILLE applauds an excellent example of cultural democracy: making artworks which are a relevant, integral part of working-class lives
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright


