Back The Woman in the Photograph Save as PDF
Chapters (65)
  1. Cover
  2. Praise for the previous work of
  3. Dedication
  4. Epigraph
  5. 24 April 2018
  6. Part 1: Subject
  7. 15 June 1968
  8. 20 June 1968
  9. July 1968
  10. 2 February 2018
  11. Part 2: Light
  12. 20 November 1970
  13. 20 November 1970
  14. 21 November 1970
  15. November 1970
  16. 19 February 2018
  17. Part 3: Focus
  18. 15 April 1977
  19. 18 April 1977
  20. 15 May 1977
  21. July 1977
  22. 26 February 2018
  23. 8 March 2018
  24. 8 March 2018
  25. Part 4: Distance
  26. 15 May 1979
  27. 15 May 1979
  28. 16 May 1979
  29. June 1979
  30. 29 March 2018
  31. 29 March 2018
  32. 27 March 2018
  33. Part 5: Movement
  34. 18 October 1981
  35. 10 April 2018
  36. 18 October 1981
  37. 10 April 2018
  38. 18 October 1981
  39. 10 April 2018
  40. 18 October 1981
  41. 10 April 2018
  42. 10 April 2018
  43. 18 October 1981
  44. 10 April 2018
  45. October 1981
  46. Part 6: Exposure
  47. July 1984
  48. 5 September 1984
  49. 24 April 2018
  50. 25 April 2018
  51. Part 7: Developing
  52. 26 April 2018
  53. Vee, in the lost place, 1984
  54. 26 April 2018
  55. Epilogue
  56. 5 February 2019
  57. Author’s Note
  58. Acknowledgements
  59. Letter from Author
  60. Stephanie Butland’s Readers’ Club
  61. For your Reading Group
  62. For discussion
  63. Select bibliography
  64. About the author
  65. Also by Stephanie Butland

Vee probably does. There will be consequences from this day, for sure, pain and exhaustion, and maybe another section of her brain dying from the sheer effort of being here. But right now – and what does it matter if it is the tumour talking? – the thought of her flat is as appealing as the thought of her grave.

Before she can say anything, though, it begins.

There’s a sharp spike of sound; a cry, a shout. She swings her body around, bringing the camera to her eye, an ingrained habit. There’s some sort of argument between a woman holding a placard and a police officer. Vee takes a photograph, another, moving closer and closer.

The police officer sees them and walks over. ‘Were you taking photographs of me?’

‘Yes,’ Vee says. She reaches into her pocket for the lens cap and pushes it back into place.

‘Can I ask why?’

‘I don’t believe there’s any reason why I shouldn’t.’

‘Are you a journalist?’

‘No.’

‘She used to be,’ Erica says, ‘and a bloody good one.’

‘Could you show me, please?’

‘I can’t,’ Vee says, ‘it’s a film camera.’

‘And why should she?’ Erica chips in. ‘She’s within her rights to take photographs.’

Vee smiles at Erica; it’s good to see fire in her, to know it’s there.

And Erica takes the smile and uses it as fuel, as some sort of encouragement. ‘Fucking police,’ she says to Vee, as though the officer can’t hear them. ‘Fucking typical entitled men who think they can harass women. Bastards.’ Vee has never heard her swear. She’s never seen her spoiling for a fight, either.

On the other side of Trafalgar Square there’s the sound of something breaking, a different kind of fury in the shouts; the chants have got ragged, moved to outraged yelling. It’s as though the air has got sharper and dropped five degrees in the space of two breaths. A collective tensing of muscles runs through the crowd, police and protestors both.

Vee knows what this means.

To her left, the camera crews are paying attention again, focusing on the confrontations that are breaking out here and there. They will soon expand, she knows: the riot police will move in, and the protesters will get angrier, and there will be no chance of going home quietly.

The officer looks Erica up and down. ‘Could I search your bag, please, madam?’

‘Why do you want to search my bag?’ She sticks out her chin, her lip. Vee can see what is about to happen. She removes the lens cap from her camera, raises it to her eye.

8 March 2018

8 March 2018

Hampton, four hours later