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

‘Women,’ she says. As she speaks the word, she realises that that was why she got the feeling she did at the picket line when she pressed the shutter. It’s what she’s been feeling her way towards, at the paper, even though every time she tries something different she gets shot down. Her photos of women talking over a cup of tea at a coffee morning are not used. Her photographs of women in a line, one holding a wonky home-made cake on a plate, one with a teapot, are what Bob wants. Even though no one looks comfortable; even though there’s nothing in these line-ups that isn’t interchangeable with last week’s church fair, tomorrow’s get together at the Mothers’ Union. ‘I want to take photographs of women where they look like . . . themselves.’

Leonie doesn’t take her gaze from Vee’s face. Vee feels her intention forming as the words emerge. She has the feeling that she is waiting to see what she will say, as much as Leonie is. ‘I mean – women are always meant to look like something, aren’t they? Like their job. But most of them ain’t good jobs, real jobs, like being a carpenter or a lawyer or something. So photos are usually being somebody’s wife, or with something they’ve baked, and even if they’re something like – like a singer, like Dusty Springfield, they still have to look – their looks still matter more than they would if they were a bloke. I mean, look at Pink Floyd. Women couldn’t get away with that.’

Leonie nods. ‘And how does all that fit with getting married?’

‘I don’t know.’ The cider is going down quickly. ‘Barry wouldn’t mind. And anyway, why shouldn’t I get married if I want to? What else are women supposed to do?’

Leonie lights her roll-up. ‘Well, if they’ve got the guts, they could follow their heart. They could take their profession seriously. They could build a career. If they had a vision. And they recognised that the world was about to start taking women seriously. In all respects.’

Vee sits up straighter at the thought of herself as being someone with a vision. The room rocks. ‘Is that really going to happen, though?’

‘Well,’ Leonie says, ‘we’ve got Barbara Castle in our corner. That’s one woman in the Cabinet. It’s a drag that there’s only one, but it’s a start.’

‘There are loads of MPs this time, though.’ Vee’s father had commented on it, after the 1966 election, with something like wonder.

‘Twenty out of six hundred plus,’ Leonie says, ‘that’s not what I’d call representative.’

‘No.’ Vee should have thought of that.