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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

She takes half a dozen frames to let him get it out of his system, and then she really gets to work. She asks him about the view and he explains what’s visible; every time he glances towards her, to see that she’s listening, she takes another photograph, catches his face both animated and relaxed. She thinks the finished shots will have him looking like the sort of person he probably was, once, before he found the persona he’s living. He’ll almost certainly complain when he sees the magazine cover.

She shoots a film, then they move into his living room, where she needs to stand on a dining chair so that she can tuck the dark velvet curtains up and out of the way. Under the pretence of steadying her – ‘Be careful, darling, you’ve got precious equipment there and I couldn’t stand for it to be damaged!’ – he holds her by the hips, hard, then, when she’s stepped down from the chair, puts one of his hands on her buttocks. She steps, forward, away, and asks him to sit down; stands on a chair above him, looking down, and shoots a few more frames. There’s nothing good about these photographs – he looks terrible, squat and leeringly foreshortened, but that’s precisely why she enjoys taking them. A couple of seated shots – he opens his shirt a little more, and she realises it’s because he has a nipple pierced, and wants it to be noticed, recorded. And suddenly she’s sick of him, of this whole stupid game, but still she thanks him and compliments him on being a good sitter, because she needs to keep the calls from the picture editors coming in.

She drops the films at the lab. And then she goes home, takes a good, hot shower, and thinks about calling Leonie. But she doesn’t have the energy, tonight; and if she tells her about the DJ, although Leonie will make no excuses for him, she’ll have no patience with Vee’s behaviour, either. Plus, Vee is totally out of her depth with the pregnancy and the adoption. She’s certain that she did the right thing. Being a parent feels like too important a job to take place on the fly, around the edges, although of course every parent had a life before. Vee is not a person who is capable of that.

She’ll leave it for another couple of days to call. Just until she’s got a little more to give. Just until she’s sure she’s thought everything through, and there’s nothing else she can suggest.

Just in case she changes her mind, and decides she does want Leonie’s baby, after all.

June 1979

June 1979

This Month magazine

Leonie Barratt: Letters from a Feminist

Our monthly column from the front line of the Battle of the Sexes

Dear John,

I know what you’re thinking.