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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

Writing The Woman in the Photograph has changed me. It’s given me new respect for the women who bellowed and marched and organised, and changed the law. And changed the world. I thought I had educated myself about feminism, but there was so much I didn’t know. Spending time in archives and reading the work of women who were uncovering and exploring the things I take for granted was humbling. It’s made me determined to be a better feminist myself. It’s made me frustrated at how far there is still to go. I’m furious about the ways women are mistreated, and exhausted at the insidious sexism of our day-to-day lives – and I know how sheltered I am from most of it, by dint of being white in the West. I know that makes it easy for me to write this letter: to own my achievement.

The world has changed, but it has not yet changed enough.

We need more unapologetic women. We need them in fiction, and we need them in the world.

I’m proud of The Woman in the Photograph and I worked hard on it. I hope it means something to you too.

Stephanie Butland

Acknowledgements

Acknowledgements

Thank you:

When I was small, I used to ‘help’ my dad when he took photographs, then I used to ‘help’ in the darkroom. In the writing of this book my dad was a great help to me (without the inverted commas). Veronica’s ability and understanding of her craft come from him, as do the words of her unpublished book.

For expertise, advice, and/or outings: Luke Dodd, Clare Grafik, Shelley Harris, Rebecca Leete, Clare Macintosh, Louise Williams.

You know what for: Carys Bray, Sarah Franklin, Shelley Harris.

For patience, wisdom, and general knocking it out of the park: Oli Munson.

Bonnier: especially Sarah, Katie, Margaret, Clare, Sahina Felice, Imogen, Alex, Kate, James, Nico, Vincent, Angie, Victoria, Jeff, Graham, Sarah and Jennie.

A M Heath: especially Florence, Alexandra, Prema, Mairi and Vickie.

For sharp and intelligent copyediting and proofreading: Genevieve Pegg and Jane Howard.

The unsung heroes of publishing are the bloggers and booksellers who champion the books they love. Thank you.

Kate Beales, Alan Butland, Clare Grafik, Tom Nelson, and Susan Young, my trusted beta-readers.

I’ve said it before, and I’ll say it again, because it’s still true: being the family or friend of a writer is not easy. Honourable mentions go to: Alan, Ned, Joy, Auntie Susan, Lou, Jude, Rebecca, Scarlet, Tom, Kym, Donna, Victoria.

This novel has its roots in the faith and creative egging-on of my extraordinary editor, Eli Dryden. She takes everything I do and shows me how to shape it into something better and brighter. I am more glad of her than I know how to say.

Letter from Author

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