Answer: Khattam-Shud shows Haroun on the ship that each story in the Ocean requires its own type of poison to properly ruin it, and suggests how one can ruin different types of stories. Iff mutters that to ruin an Ocean of Stories, you add a Khattam-Shud. The Cultmaster continues that each story has an anti-story that cancels the original story out, which he mixes on the ship and pours into the ocean. Haroun, stunned, asks why Khattam-Shud hates stories so much, and says that stories are fun. Khattam Shud replies that the world isn't for fun, it's for controlling. He continues that in each story there is a world he cannot control, which is why he must kill them.
Explanation:
Iff here simplifies Khattam-Shud's explanation, as all that's needed to really end a story is to say it's over. However, Khattam-Shud is working to not just end stories by simply saying they're over, but to make them unappealing to audiences, which will then insure that they won't be told, Silence Laws or not. Think about the ancient stories around the Wellspring; they exist as an example of what happens when stories are deemed boring and not useful.
Answer:
Personal style became another creative outlet for Kahlo, who began painting during her recovery from the bus accident. The purpose of her clothing choices fell two-fold after the collision: to effectively conceal her physical disability, and to showcase her radical political beliefs. Kahlo started wearing her own interpretation of traditional Tehuana dress: full skirts, embroidered blouses and regal coiffure associated with a matriarchal society from the Isthmus of Tehuantepec in Oaxaca, Mexico. ... The long flowing skirts covered her wasted leg, and their motion helped conceal her limp. Often wearing flowers and using them in her paintings as a celebration of her national heritage, their symbolism of fertility and fecundity was also pertinent to Kahlo who was unable to have children herself as a result of the accident in her teenage years. Kahlo was deeply influenced by indigenous Mexican culture, which is apparent in her use of bright colors and dramatic symbolism. She frequently included the symbolic monkey. ... She combined elements of the classic religious Mexican tradition with surrealist renderings.
Explanation: