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

The man who tutted at Leonie’s swearing earlier barks a sharp, ‘I say! That’s enough!’ Vee, turning to glance at his purpling, indignant face, feels something else within her fall into place, lock, make her stronger. She’s not just here to protest about the way women are portrayed. It’s about the whole damn world. The beauty queens only parade because the men in bow-ties want to look at them. The women who are with the men in bow-ties have been made to think that this is OK. No one here believes they are doing anything wrong. Everyone is brainwashed. And among the confusion and the shouting, under the disapproving gaze of the people who came here to watch the show, and the blank eyes of the television cameras, Veronica Moon gets it. Really, properly. Not in words, but in feelings. She might not know everything, but she understands. She unclips her camera lens cap, puts the viewfinder to her eye.

Shoved and shunted from the building with the other shouting protestors a few minutes later, Vee finds herself next to a grinning Leonie, and because she cannot express, exactly, what it is that she has felt, she blurts, ‘I love you.’ Leonie seems not to hear.

*

Leonie drinks a lot, fast, as they stand in the street outside the Café de Paris two hours later. Hip-flasks filled with brandy and whisky are being passed from hand to hand. Vee sips – she likes the warmth the alcohol brings, but she wants to keep her wits about her, just in case she does get arrested. The police seem benign, good-humoured almost, chatting to some of the quieter protesters who are asking them about their wives, their sisters, talking about how beauty contests undermine the women in their lives. The police don’t appear to be taking them seriously, but you never know. Some of it might sink in.

Vee feels overwhelmed, still, by her sudden understanding of how much work there is to do. Feeling around in her handbag for her hanky, her fingers find instead her lipstick, and she pulls it out and throws it in the gutter. She’ll never wear makeup again.

Every time the protesters start to feel cold, or tired, more women arrive with more placards – ‘Women Are People Too’, ‘Women Demand Liberation’ – and the chanting finds new strength with new voices. There’s euphoria everywhere at the disruption the action at the Royal Albert Hall has caused; speculation about how many millions of people might have seen the protest on television. Hundreds of thousands, maybe. Vee can’t begin to imagine it. She can imagine Barry’s mother’s face, though.