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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

Leonie sent her drafts, still, airmail from the American university where she now teaches. In April, Vee had received a proof, and seen herself in the acknowledgements: ‘Thank you to VM, my sister and my friend, who sees everything.’ She’d sat down and read the book, there and then, even though she’d seen its earlier version. But printed like this, it was different. Real. Vee understood, now, what her father meant when he said he was proud of her. She remembers his face, when she told him she’d been approached by a publisher to write a book about photography, a guide for people with their first real camera. (‘I’ll write a book for women with their first real camera’, she’d said.) This winter, her own book has absorbed her free time, and a lot of time she should have given to Stanley. And so when she held Leonie’s book, she knew, more than before, what had gone in to it.

And it’s a feast of a book for anyone who is a Leonie fan, knows her work and her views. Vee can’t say how it will read to someone who has never had the experience of sitting in a room with this clever, uncompromising force of intelligence, felt something like seduced by her words. This Is What You Need To Know About Women (Especially if You Are a Woman) is an abrasive, uncomfortable, unapologetic take on where women should be by now, and all the reasons they are not. Thatcher gets a pasting, which is fair enough, but so does almost everyone else. Women who work, women who don’t, lipstick wearers, closeted lesbians, men who don’t yet understand the whole thing, men who do. And as for feminists: Leonie is unimpressed by them, too, mostly for supporting the patriarchal structure, instead of razing it to the ground, but also for excluding the experience of their sisters of other colours and cultures. Vee enjoyed every word, but Vee knows that Leonie is a blast of cold shower that you know isn’t going to last forever. Anyone who stays under there too long is going to hurt.

A lazy, rippling shrug, but the makings of a smile, too. Leonie can’t hide how pleased she is, and Vee loves her all the more for it. ‘How do polemics ever go? The people who like it are the only ones you don’t need to reach. It’s preaching to the fucking choir.’

‘That’s a shame,’ Vee says. She wishes more people understood the sparkling, bracing humour of Leonie. If you don’t, she could sound vicious.

‘Why?’ Leonie looks half-curious, half-hostile; that means it’s safe to proceed. And it’s a great photo. Click.

‘If people are put off because they feel under attack, they might not understand your message, might not read it—’

‘Then they’re not ready.’