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

‘Maybe.’ Erica looks like Leonie but she doesn’t have the scrappiness. No way would Leonie have let Vee get away with a comment like that.

Erica spreads the folders around the table. There are seven, each with a photograph on the front – the prints Erica has chosen to be the focal part of each section of the exhibition. She’d sent Vee an email about framing and sizing last week. Vee had been desperate to go to bed – it wasn’t just her head that ached that day, but her whole body, in a way that was more than the aches of being an old woman – and, though it wouldn’t be fair to say she didn’t care at all how the work was framed, she has reasonable confidence in Erica to do a reasonable job. So she hadn’t read the email properly, and hadn’t therefore seen which images Erica was leading with. And now, here they are, laid out in front of her in manila folders, each with a poorly reproduced print on the front, apart from the last one, on which Erica has written ‘Self-Portraits (?)’.

Her work can all be boiled down to this, then. Veronica Redux.

Vee pulls the Miss World one towards her, for no reason other than that she hasn’t thought about it in a long time.

‘This was not long after the Women’s Liberation Front started, wasn’t it?’ Erica asks.

‘It must have been,’ Vee says.

‘Did my aunt Leonie get you involved?’

Vee feels herself smile, ‘Leonie got me involved in everything. She was the first active, unapologetic feminist I met. She pulled me in. My life wouldn’t have been what it was without her.’

She’s just used the past tense about herself. Well, may as well start now.

‘She was a kind of a mentor to you, then?’

‘I suppose she was. Though I wouldn’t have called it that then. It’s one of the words I wouldn’t have known. Leonie helped me in a very – basic – way.’

‘Mmm.’ Erica is sorting papers; it seems that she’s looking for something. Vee looks back at the photograph and thinks of all the things she didn’t know in 1970. She didn’t even know the words. She had started looking them up in her old school dictionary: ‘patriarchy’, ‘misogyny’, ‘eunuch’ when she read Greer. She once went to a meeting where people were talking about a new lexicon for an equal world. She didn’t know what ‘lexicon’ meant.