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

And yes, it’s artifice, and yes, it’s conditioning, and yes, it’s wrong. But how Vee would love to take to those faces with her camera, sculpt the angles with light and shade, turn conventional beauty into something powerful and stripped back and stunning. Whichever beauty queen is now centre stage is simpering and smiling and talking about how much she loves the colour of her gown. She’s wearing high, strappy shoes which catch the light, and her hair is solidly in place in a pleat that looks as though it would survive the worst that the IRA could do. Vee imagines this woman barefoot, wearing a towelling bathrobe two sizes too big so that the only flesh on show is her face and neck, a triangle of throat, her hands and feet. Her hair would be wet – not damp, wet, hanging in rat tails around her face, the tops of her ears sticking out. The shape of her body – whatever stupid measurements they are spouting on the stage now, as though they are her worth – would be hidden by the thickness of the fabric. And she would not be smiling. Or pouting. Or come-hithering. She would be staring into the lens, fierce, with a look that said: I have no time for your men-rule-the-world bullshit. This is what I look like. This is me.

There’s a line-up of all the women on the stage, and then they file off, to applause and cooing from the audience. Some of the women around them are applauding, presumably to avoid suspicion, although it’s hard – for Vee, at least – not to be pulled into genuine admiration. She remembers how her mother used to love to dress up, her one pair of high-heeled shoes always wrapped in their tissue and put back in their box after they were worn. Vee leans over to Leonie and says, ‘I’d love to take their photographs. Without makeup. Just women.’

Leonie says, ‘Not “just”. And why not do it with other women? The ones that aren’t meeting a patriarchal notion of beauty? It’s a total waste.’

‘Of beauty?’

‘Don’t be ridiculous. That’s not beauty. That’s patriarchy in action. Brains. It’s a waste of brains. And time. How long does it take them to do whatever they do to their eyebrows? Or starve? Worry about every damn thing they put in their mouths?’ Vee thinks of the photographs she has already seen in the press, of a woman in a swimsuit smiling as a man with a tape measure wraps it around her hips, takes a reading. Leonie is right. Well, she’s always right. But Vee is the one who can see a different way to portray beauty. Or perhaps, a different kind of beauty to portray.