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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

From her handbag she takes a trowel that looks as though it will be no match for the freezing earth. But she finds a place near the bottom of the gravestone that is already lower than the rest, and she scrapes away until there’s a hole the size of her fist. She reaches in her pocket for the envelope Bea gave her, tips the contents into the hole she has made, covers it, and tamps the dry earth down.

Author’s Note

Author’s Note

The Woman in the Photograph makes me rock back on my heels and laugh because I am so damned proud of it.

This is my fifth published novel, and I am an intelligent, capable, professional woman who knows for a fact that she can write. But there is a part of me that wants to delete that sentence, or make a joke of the fact that I am proud, because—

Because what?

Because even though it’s 2019, and women all around us, all around the world, are kicking all kinds of ass in all kinds of ways, owning our power isn’t easy. There is still a message, under all of the ‘you can be anything’ and ‘women are amazing’ rhetoric, that what women need to do, before anything else, is to be likeable. Likeable is a Trojan horse with flowers woven into her mane; she disguises our fierce and fine capability.

Too often, likeable means: modest, self-effacing, quiet. Expert, yes, but backwards-in-high-heels expert: as though the only way we can display our power, our strength and our cleverness, is by making what we do look easy or pretending our achievements are negligible or answering questions in interviews about juggling work and childcare. Questions that men would never be asked.

Likeable is not okay if it means shucks-it-was-nothing apologetic. Or don’t-be-mean-to-me-on-Twitter apologetic. Or feminist-but-oh-my-god-the-calories-in-that apologetic.

I was born in 1971. At school boys did woodwork and girls did cookery, but still my dad taught me how to develop film in his darkroom, and there was never any suggestion that I wouldn’t go to university.

As I played with Sindy dolls, women were marching to get girls like me the right to be more than a mother. The feminists of the 1960s and early 1970s gave me the life I have now.

And as I started to work on this book, I wondered what those feminists would think of me: a woman who still does not know how to take a compliment about her work, though I am fine if you say nice things about my hair.