Like Annie, I agree that Blast displays a high degree of misogyny.  (Protip:  if you have to start your publication with anything that can be distilled into "I'm not sexist/racist/classist," you should probably put your pen down and never pick it up again.)  However, I believe that more than misogyny is at play in "Indissoluble Matrimony".

If we review which characteristics that George Silverton hates most about Evadne, we can see that they are, in the story's chronology:  that she is "alternately of extreme beauty and extreme ugliness" (98), her style of singing (99), her sex drive that so horrifies George (101), her vocalness--in her case, in the political sphere (102), and the perceived but nonexistent infidelity (102-9).  All of these traits have been and still are used to characterize the stereotypical black woman. In short, what George simply cannot stand is "that uncanny, negro way of hers" (99).  What George seems to despise about his wife is not just that she is a woman, but that he perceives her as having the traits of a black woman.  This perception is confirmed in the way that he refers to her as a "beast" (105), and feels enough ownership of her to attempt murder-suicide.  In this story we see a combination of two disparate threads that wind themselves through Blast:  a horrified hatred of women and a bitter disdain for non-whiteness.  What is expressed in "Indissoluble Marriage", therefore, is not just misogyny but rather an expression of misogynoir.

This story doubly calls into question Blast's proclamation that they are for "the individual" (7), not any particular group.  While they use their manifesto to style themselves as being universal in their focus, it is quite obvious that they do not mean to include women, black people, Jewish people (with Pound being unsurprisingly anti-Semitic on page 45), or "the People"--read:  the common rabble (7).  So who, exactly, was this publication for besides the middle- or upper-class white artists who were already part of the artistic elite?