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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

Yes, it had been all business with her consultant this morning. She’d reported the viciousness of the headaches, the nausea building and her vocabulary and memories being nibbled away at. Maybe. It’s not like it was after the surgery in 2007, when Vee was aware of great craters of darkness where her memories and her knowledge used to be, and known that nothing would return them to her. If she hadn’t fallen out of love with photography after Leonie died, she would have done it in the aftermath of surgery. She had spent night after night, looking at photographs, sitting with colleagues and old friends from the movement, asking them to tell her the truth that the images swore to. And knowing that, at the moments she pressed the shutter, then wound the film on, she was choosing what to see.

What’s happening to her now is of a different order. This is the imperceptible alteration in the twilight that means your first shot might be OK, but the last on the film will be grainy and barely usable. Vee had asked the questions she had brought. They might have been the ones she asked last time.

The straightness of the answers had been comforting, in the way that a clean wound is comforting when you thought it was going to be a ragged cut.

Expect to become more tired, and for your memory to be affected. Know that your judgement is impaired. As for your sight – we can scan you again, but really, you’re the best judge.

I don’t think it will be more than two months.

*

Erica is teetering on those boots again. Well, if this is what gets her through the day, so be it. She looks terrible, pale and tired. But when she sees Vee her eyes brighten; instead of waiting she comes out onto the pavement. They look at the poster together, and with Erica next to her, Vee can suddenly see what she sees.

She may, finally, have arrived at wherever she set out to, on that sunny day in Dagenham in June 1968. Some people never get an exhibition. Some people are truly forgotten. And that would be worse, even if there have been times when she thought it would be better.

Erica looks down at her hands. ‘Do you want to come in?’ she asks. ‘I mean – I know you do, that’s why you’re here. I’m – I’m just nervous.’

Vee nods. ‘Lead the way,’ she says.

Erica puts her hand to the wall as the movement of the lift begins; she wobbles, a little, and Vee puts out an arm. How good, to steady someone else. ‘Are you OK?’

Erica gives a smile-not-smile. ‘I’m pregnant.’

‘Oh.’ Vee knows that she is supposed to be congratulatory, but brain tumour or no, she can see from Erica’s face that it’s not that simple. ‘Well.’