Back The Woman in the Photograph
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

‘Bitch,’ the man says, jumping out of the way of the beer pouring onto the floor, then, as it hits his shoes, ‘Fat cow.’

‘You betcha,’ Leonie says. This is why Vee should never, ever put her camera away. The man’s face, outraged and, beneath, perplexed as to how he is powerless in this moment, is a picture, except it isn’t, because she’s missed it.

‘So, are you thinking of putting it up for adoption?’

Leonie rubs at her eyes, then yawns. Vee suspects she’s hiding tears, and makes sure not to look. If Leonie is going to talk to her about this, she needs to keep things cool, steady; if her friend suspects her of being emotional she’ll shut the conversation down as swiftly as she knocked over that pint.

Leonie concentrates on folding up the empty crisp packet. ‘I suppose. It’s a faff. I might leave it on a step somewhere.’ Oh, no. This can’t be happening. Leonie might be right about there being too many children in the world, but—

Leonie puts a hand over Vee’s. ‘Your face! Of course I wouldn’t leave it on a step. Just because I don’t want a baby doesn’t make me—’ she pauses, ‘subhuman.’

‘You might feel differently about it when it’s here,’ Vee offers. Even as she’s saying it, she knows these are the wrong words. But she doesn’t know how to be helpful. Leonie does everything differently.

‘Why would I?’

‘Well, people do.’ Any other conversation like this would be about maternal instinct, hormones, bonds, but Leonie wouldn’t accept that, and Vee is not sure that she does, either. She closes her mouth again but it’s too late. Leonie has read her thoughts, or seen the M for ‘motherhood’ her mouth had been beginning to make, and extrapolated from there. Photographers have to be ordinary, uninteresting, if they are to fade far enough from the subject’s notice to get them to be their true selves. But Vee would like to say one surprising thing, sometime.

‘Maternal instinct? Which makes women no longer want to leave the home or do anything except serve their families? Fuck that,’ Leonie says.

‘I didn’t say anything!’

‘You were going to.’ There really is no point in arguing with Leonie, because – well, because she is Leonie, but also, because she’s right. ‘There’s no such thing as maternal instinct. It’s just another bullshit construct designed to keep women down and I’m not buying it.’

Vee nods and takes a drink. She has no desire for a child, certainly, or for the relationship she would have assumed would go with it.

Leonie adds, ‘There are some primitive tribes where people don’t know who children belong to. They are born and then they’re fed by whichever tit is closest. Nobody can tell you who came out of who else.’