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

If she points out that it’s not the work that makes her life hard, but the way their home life is organised, he’ll be wounded, and then she’ll definitely have to give him a lift. She doesn’t have time for that. And anyway, she doesn’t know if he will understand how, some days, she can feel her brain starting to atrophy. She has nothing in common with the women she is meeting at coffee mornings. They’re not stupid, by any means, it’s just that they are absorbed into motherhood as though they have worked for it, are entitled to it. Or as though it is their new job. Erica cannot find that in herself. Somewhere else she is failing. When she’s at work she’s tired. And at home, reviewing the exhibition, she’s afraid that she’s making mistakes, or missing her chances to make Vee’s work shine, and to shine too. Motherhood has made her mediocre. And it shouldn’t have to be that way

‘You need to go,’ she says, ‘we can talk later.’ And when he bends to kiss her she moves her head, just a fraction, so that he kisses the side of her cheek rather than her mouth. It’s petty, but she doesn’t care.

*

‘Erica?’ Vee frames it as a question, but the woman walking towards her could be no one else.

‘Ms Moon? Veronica? It’s an honour to meet you at last.’

Vee debates whether to stand, but it was work enough for her knees to get her to a sitting position on this bench.

‘It’s Vee, please. Good to meet you, Erica.’

Erica’s hair is the colour of a milky morning coffee, and it hangs straight and fine. Her eyes are big, warm and wide, a dark complement to her hair. A narrow mouth, smiling, small teeth, white. High cheekbones, narrow chin, pink lipstick. Imagine her face rounder, without the makeup . . . Only the nose is wrong. Vee hears herself inhale, a sharp shocked sound. She should have been prepared for the resemblance.

‘It’s an honour,’ Erica says, again, ‘and such a privilege to be trusted with this retrospective.’

Vee has never known what to do with compliments, so she just nods at them, as she does to dogs and children. She moves her bag to the floor by her feet, so that Erica can sit if she wants to. She does. No wonder, wearing ridiculous heels like that. ‘Have you had a nose job?’ she asks. She realises, as soon as she has said the words, that she shouldn’t have; but she is truly out of practice at conversation, forgets that you don’t just say what’s come to mind.