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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

‘I can’t really believe it, either,’ Vee says. There’s always a slight shock when she meets anyone famous, and another when she realises that she is there to photograph them, and for the length of time that takes, the two of them will be something like equal. (Some people do as she asks; others ignore her. The best subjects are the ones between, who have their own sense of what they should be, but can respect a different opinion.) Every job – even the tricky ones, too little time or not enough light, an assistant or a journalist hurrying things along or interrupting – seems too good to be true. Part of Veronica thinks her luck will run out, one day, and each job will be her last. Her diary is filling up with commitments for the next three months, though. All she has to do it keep at it. Keep doing a good job. Just like her father always says: do your best and keep doing it.

‘She’s a saint, for sure,’ he says, now, looking at the photograph, again. Vee caught her mid-yawn, hand midway to her mouth, eyes looking downwards, brow furrowed, as though she is puzzled by this most human reaction, as though she has never known tiredness before. Vee had asked her if she needed to rest. She’d shaken her head, smiling, as if to say, what does it matter what I feel. The images Veronica caught then, three in quick succession, were her favourites, and the picture editor had liked them too, printing them in a column down the side of the text of the interview. The yawn is on the facing page, between headline and byline. Vee’s name, in tiny capitals, runs up the side of the photograph.

‘Not everyone thinks a lot of her.’ Leonie had been scathing: people like Mother Teresa are only called saints by the world because they tidy up the mess the world – by which she means men – makes.

‘I’m very proud of you, you know,’ Stanley adds, ‘people said all sorts when you moved away, that you’d be back when you got sick of London, that you thought you were too good for us, but I knew you would do what you’d set your mind to. And I knew you wouldn’t forget your roots.’