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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 nods, starting to laugh at the memory. ‘She looked at me as though I was mad – if she had had tongs she would have taken it with those – so I said, if you tie this round your neck, it will blow in the wind, and people who look at the photograph will understand that it’s windy, and that will explain why your hair might look different to the way it usually does. She looked at the scarf, and at the man holding the hat, as if she was thinking, well, this is not at all what I expected to happen here. And then she tied it round her neck. About two seconds later, the wind blew it up into her face, and I thought, that’s it. She’s going to walk off and I’m going to have to use one of the earlier shots. But she laughed, and she pulled the scarf down, away from her face, and when she let go, the wind pulled it out sideways, and that’s when I took the shot.’

‘So my scarf was trying to strangle Thatcher? And that’s the money shot?’

‘Absolutely,’ Vee says. She had taken a few more photos, for appearances’ sake and to use the rest of the frames on the film, but she’d known that she had it. And then she realises something. ‘I didn’t get it back. She didn’t give the scarf back to me.’

‘Typical bloody Thatcher,’ Leonie says, ‘I’ve always said she’s only out for herself. Bloody cow.’

‘You’d hope for better from a woman,’ Vee laughs back, knowing as she says it that it’s not as simple as that, and that Leonie is about to tell her so.

But all Leonie says is, ‘I told you, you can’t trust the patriarchy. And she’s as much a part of it as every man in the House of Lords.’

Last time Leonie and Vee were together, in the run-up to the election, Vee had, foolishly, attempted to argue that a female PM could only be a good thing, even if she was a Tory. Things has got heated. Leonie doesn’t look as though she has a lot of heat in her today, though.

‘How’s it going with the new book?’ Neither Leonie’s book about women’s lives and sexuality, nor the next – about their relationship with food – have been published. And Leonie keeps writing.

Leonie knocks back her chaser. ‘A publisher I’ve been talking to really likes it.’