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

Erica shifts from foot to foot, and presses her lips together as if to hide the coral stain on her mouth. ‘You would never pick that fight now, though? Haven’t we understood that as feminists, as women, we respect each other’s choices?’

This would be the time to mention Erica’s nose job, and the way she has lost something distinctive and strong for the sake of what the male gaze considers acceptable. But she hasn’t the energy. Instead she says, ‘If we’re feminists by making choices, instead of being limited by the patriarchy at every turn, then that’s a thin kind of feminism. It’s not what we were really about. We wanted a better world for women. Not one where we respected each other’s right to be oppressed.’

Erica seems to flinch, but Vee can’t be sure. ‘From what I’ve read, women were hard on each other in the seventies, too. At least there’s a bit more live and let live now.’

Vee sits in silence for a moment, leafing through the magazines that Erica has laid on the table, recognising her photographs on covers. ‘Leonie teased me for wearing dresses when I went to see my dad.’

Erica laughs, ‘Really? I don’t think of her as teasing anyone. Listening to my mother talk, you’d think Leonie did nothing but . . .’ she casts around for the right expression, a precision that Vee likes in her, ‘verbal assassinations and scorn.’

Vee tips her head, smiles, to show that Ursula had a point. The movement makes something in her head prick and sting. ‘In the early days, we weren’t worse to each other than men were to us, but we weren’t always better. And that was hard, because we expected better from each other. And I don’t think we grasped that – that if someone had spent years thinking about their appearance, if they believed their value was in their beauty, then they didn’t see Miss World as exploitation. They saw it as achievement. We weren’t trying to undermine that, but of course women who had invested that way felt undermined.’

Erica nods too. ‘I really want the exhibition to make people think about the way women are seen today. Miss World looks tame in comparison.’

Vee thinks back to what she remembers of that time. ‘I think we hoped that the way women looked could become irrelevant.’

Erica nods. ‘Do you think you were naive?’