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Die Frau auf dem Foto
Frauen-Freundschaft, Feminismus und die besondere Kraft der Fotografie:
Einfühlsam und mitreißend erzählt Stephanie Butland die Geschichte von drei ungewöhnlichen Frauen von 1968 bis heute
In jedem Foto steckt ein Leben – niemand weiß das besser als die ehemalige Star-Fotografin Veronica Moon. Deshalb hatte sie als junge Frau mit dem Fotografieren begonnen. Und deshalb hat sie vor Jahren damit aufgehört.
Doch nun wird eine Ausstellung über ihr Lebenswerk für die Fotografin zu einer Reise in die Vergangenheit: von jenen wilden Tagen 1968, als sie in der Feministin Leonie Barratt eine Freundin fürs Leben findet, bis zu Leonies tragischem Tod, über den Veronica bis heute schweigt.
Die Ausstellung leitet ausgerechnet Leonies Nichte Erica, die so vieles von Veronica wissen möchte. Ist endlich die Zeit gekommen, ihr Schweigen zu brechen und die Vergangenheit loszulassen?
»Die Frau auf dem Foto« porträtiert drei ganz unterschiedliche Frauen und eine innige Freundschaft, die mehr als einmal auf die Probe gestellt wird. Ganz nebenbei ist Stephanie Butlands Roman auch eine Geschichte des Feminismus – und eine Hommage an die besondere Kraft der Fotografie.
Einfühlsam und mitreißend erzählt Stephanie Butland die Geschichte von drei ungewöhnlichen Frauen von 1968 bis heute
In jedem Foto steckt ein Leben – niemand weiß das besser als die ehemalige Star-Fotografin Veronica Moon. Deshalb hatte sie als junge Frau mit dem Fotografieren begonnen. Und deshalb hat sie vor Jahren damit aufgehört.
Doch nun wird eine Ausstellung über ihr Lebenswerk für die Fotografin zu einer Reise in die Vergangenheit: von jenen wilden Tagen 1968, als sie in der Feministin Leonie Barratt eine Freundin fürs Leben findet, bis zu Leonies tragischem Tod, über den Veronica bis heute schweigt.
Die Ausstellung leitet ausgerechnet Leonies Nichte Erica, die so vieles von Veronica wissen möchte. Ist endlich die Zeit gekommen, ihr Schweigen zu brechen und die Vergangenheit loszulassen?
»Die Frau auf dem Foto« porträtiert drei ganz unterschiedliche Frauen und eine innige Freundschaft, die mehr als einmal auf die Probe gestellt wird. Ganz nebenbei ist Stephanie Butlands Roman auch eine Geschichte des Feminismus – und eine Hommage an die besondere Kraft der Fotografie.
436 pages, Kindle Edition
First published July 11, 2019
44 people are currently reading
1090 people want to read
About the author
Stephanie Butland
16 books821 followersStephanie Butland is a writer, who is thriving after breast cancer. (She used to say she was a survivor, but that was a bit lacking in joie de vivre.)
Although she’d never have chosen it, her dance with cancer has changed her life in many positive ways. Now she is happier, healthier, and more careful with her precious life and the precious people and things in it.
Her writing career began with her dance with cancer, and now she is a novelist.
Aside from writing, she works as a speaker and trainer, and she works with charities to help raise awareness and money in the hope that cancer will soon be about as scary as a wart.
She lives in Northumberland.
Although she’d never have chosen it, her dance with cancer has changed her life in many positive ways. Now she is happier, healthier, and more careful with her precious life and the precious people and things in it.
Her writing career began with her dance with cancer, and now she is a novelist.
Aside from writing, she works as a speaker and trainer, and she works with charities to help raise awareness and money in the hope that cancer will soon be about as scary as a wart.
She lives in Northumberland.
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Displaying 1 - 30 of 137 reviews
July 11, 2019
There have been many books with a focus on first wave feminism, and it was really refreshing to find a book that instead explored its background during a period I lived through, from the 1960s onward. Like most women of my age, I can remember the strike at Dagenham, the protest at the Miss World ceremony, the women’s peace camps at Greenham Common – but I was perhaps too young to fully understand the issues. It was a wonderful experience to be more than a distant observer: this book allowed me to witness that period of change first hand, and also through the key images captured through the lens of the author’s fictional photographer, Veronica Moon.
The book opens with a visit to an exhibition – the 2018 retrospective of Veronica’s work – and an introduction to the controversial photograph that ended her career. An extract follows, from her unpublished book, then a description – the legend that accompanies a photograph in the exhibition – and a series of historical references for 1968, the year of the book’s opening. And then we meet Veronica herself – a junior photographer on the Colchester Echo, living with her dad and destined to become a wife and mother, who decides to visit the Dagenham Ford factory in her own time to photograph the picket line. There, she meets Leonie – and it’s a meeting that changes her life.
That structure continues throughout – along with Leonie’s published “Letters from a Feminist” – and I’ll admit I wasn’t entirely sure about it at first. But it soon ceases to be “difficult”, instead providing a very original structure that enables the reader to “see” each photograph and frame it in its context, and it works exceptionally well.
The characters are wonderful – I particularly loved the way Veronica herself grew and developed, and the complex and moving friendship between her and Leonie. Leonie herself is more difficult to like: she’s everything that perhaps repelled – and certainly frightened – women less committed to the cause at that time, but her character is never anything but entirely “real”, true to her age and time, never a stereotype.
As well as moving forward through Veronica’s extraordinary life and experiences in the world she becomes part of while capturing its key moments, there’s a present day story – we see Veronica in later life, as the exhibition of her work approaches. The thread slowly resolves some of the issues that have blighted her later life, and reveals the full story behind that single photograph that had such a devastating impact. The exhibition is being organised by Leonie’s niece Erica – another strong character, with interesting glimpses of her present day life that raise important questions around the current state of female parity and the caregiving roles.
In her reading group questions at the end of the book, the author asks whether the key photographs are brought to life with her words – the answer is an emphatic “yes”, to the extent that I began to question whether they were real. I really thought I could remember some of them – but although the “moments” undoubtedly happened, it’s the reader’s imagination that creates the images. And there are other “moments” throughout the book that you hold in your memory with the vividness of photographs – the buying of drinks in a public bar, the male endorsement needed for a mortgage application (yes, I’m old enough to remember both…), the power of throwing a lipstick into the gutter.
This book packs a very powerful emotional punch – and while its context is perhaps its core, I was equally enthralled by the smaller scale personal story, the overwhelming strength of the female friendship while realistically portraying the women’s differences, the slow uncovering of long hidden secrets.
I thought this book was quite superb – brave and different, an unflinching look at a struggle that still continues and that it’s all too easy to overlook and take for granted, coupled with an immensely engaging personal story. It’s also beautifully told, and a totally compelling read – I recommend it most highly.
The book opens with a visit to an exhibition – the 2018 retrospective of Veronica’s work – and an introduction to the controversial photograph that ended her career. An extract follows, from her unpublished book, then a description – the legend that accompanies a photograph in the exhibition – and a series of historical references for 1968, the year of the book’s opening. And then we meet Veronica herself – a junior photographer on the Colchester Echo, living with her dad and destined to become a wife and mother, who decides to visit the Dagenham Ford factory in her own time to photograph the picket line. There, she meets Leonie – and it’s a meeting that changes her life.
That structure continues throughout – along with Leonie’s published “Letters from a Feminist” – and I’ll admit I wasn’t entirely sure about it at first. But it soon ceases to be “difficult”, instead providing a very original structure that enables the reader to “see” each photograph and frame it in its context, and it works exceptionally well.
The characters are wonderful – I particularly loved the way Veronica herself grew and developed, and the complex and moving friendship between her and Leonie. Leonie herself is more difficult to like: she’s everything that perhaps repelled – and certainly frightened – women less committed to the cause at that time, but her character is never anything but entirely “real”, true to her age and time, never a stereotype.
As well as moving forward through Veronica’s extraordinary life and experiences in the world she becomes part of while capturing its key moments, there’s a present day story – we see Veronica in later life, as the exhibition of her work approaches. The thread slowly resolves some of the issues that have blighted her later life, and reveals the full story behind that single photograph that had such a devastating impact. The exhibition is being organised by Leonie’s niece Erica – another strong character, with interesting glimpses of her present day life that raise important questions around the current state of female parity and the caregiving roles.
In her reading group questions at the end of the book, the author asks whether the key photographs are brought to life with her words – the answer is an emphatic “yes”, to the extent that I began to question whether they were real. I really thought I could remember some of them – but although the “moments” undoubtedly happened, it’s the reader’s imagination that creates the images. And there are other “moments” throughout the book that you hold in your memory with the vividness of photographs – the buying of drinks in a public bar, the male endorsement needed for a mortgage application (yes, I’m old enough to remember both…), the power of throwing a lipstick into the gutter.
This book packs a very powerful emotional punch – and while its context is perhaps its core, I was equally enthralled by the smaller scale personal story, the overwhelming strength of the female friendship while realistically portraying the women’s differences, the slow uncovering of long hidden secrets.
I thought this book was quite superb – brave and different, an unflinching look at a struggle that still continues and that it’s all too easy to overlook and take for granted, coupled with an immensely engaging personal story. It’s also beautifully told, and a totally compelling read – I recommend it most highly.
July 11, 2019
This is a wonderfully written book. When I first picked it up, I thought it wasn't going to be for me but just a chapter in and I was hooked.
I love the way it's written in short and long chapters and the little information about photography that is given at the start of each.
The plot is largely about feminism and is very relative to what's happening in the world today. It's hard to believe that all the fighting for votes and equality for women that was started way back in time is still going on today. I always considered myself a modern woman but having read this book I now have my doubts. I think I've conformed to what's expected quite a lot.
The two main characters are Veronica (Vee) and Leonie. Two very different women trying to survive in a man's world while trying to be equal or better. Leonie was hard to like. An extremely confident in your face character. She made no concessions and tolerated nothing. Vee was softer but toughened up as life went on. Easier to like but yet Leonie was the more solid of the two.There was a thread of sadness running through the whole novel.
It dragged slightly for me in the last quarter. Also, if you're easily offended by bad language or sexual references then this book is not for you.
I thoroughly enjoyed it!
Thanks to Readers First for a copy of this book to read and review.
I love the way it's written in short and long chapters and the little information about photography that is given at the start of each.
The plot is largely about feminism and is very relative to what's happening in the world today. It's hard to believe that all the fighting for votes and equality for women that was started way back in time is still going on today. I always considered myself a modern woman but having read this book I now have my doubts. I think I've conformed to what's expected quite a lot.
The two main characters are Veronica (Vee) and Leonie. Two very different women trying to survive in a man's world while trying to be equal or better. Leonie was hard to like. An extremely confident in your face character. She made no concessions and tolerated nothing. Vee was softer but toughened up as life went on. Easier to like but yet Leonie was the more solid of the two.There was a thread of sadness running through the whole novel.
It dragged slightly for me in the last quarter. Also, if you're easily offended by bad language or sexual references then this book is not for you.
I thoroughly enjoyed it!
Thanks to Readers First for a copy of this book to read and review.
July 10, 2019
An enlightening testament to the achievements of the feminist movement & the complex friendship of two women defined by it.
3.5 stars
Enlightening and engaging in equal measure, Stephanie Butland’s testament to feminism is an accessible guide to the achievements of the Women’s Liberation movement and is underpinned by the friendship of strident second-wave vocal feminist and writer, Leonie Barratt, and the pioneering photographer who chronicled the campaign, Veronica “Vee” Moon. But as Veronica stands on the eve of an exhibition paying tribute to her career, she is faced with the controversial centrepiece and unflinching photograph of her long-term associate and best-friend that ended her career and simultaneously fuelled her retreat from public life. At the age of seventy and beleaguered by serious health issues, Vee’s retrospective is curated by Leonie’s niece, Erica, who is beginning to lose hope that the now reclusive photographer will break her silence on a turbulent friendship that defined the feminist movement.
The narrative is quite ingeniously constructed and as the reader is led through the series of seminal photographs from Vee’s career displayed in the retrospective, each image is accompanied by flashbacks to the time and Leonie’s monthly ‘Dear John’ columns published in This Month magazine. This is then followed by Vee’s reflections in 2018 and curator Erica’s own life and her frustration with her unequal domestic set-up and the burden of childcare falling on her. The first image, taken on the picket line of Ford Dagenham in 1968 as the female machinists demanded equal pay was the inaugural meeting of firebrand radical feminist, Leonie, and eager young photographer Vee Moon. Whilst women’s lib was a source of amusement in the lives of those surrounding Vee at home in Colchester, flirtatious Leonie swiftly takes her under her wing and introduces her to the cause. As Vee is drawn into the thrall of Leonie she quickly becomes devoted to the cause, with the appeal of the movement undoubtedly helped by her sexual attraction to her mentor.
The exhibition itself showcases Vee’s career highlights and is a whirlwind tour through feminism, from protests at the Miss World competition, the right to an abortion, the lack of recognition for domestic violence and the laws to uphold it, through to the right to be served in a pub and Margaret Thatcher becoming the first female leader of the nation. Not only was it shocking to discover how much the Women’s Liberation movement actually had to overcome, I was equally appalled to realise the implications of the legal constraints of the past that held women back.
The character arc of both Leonie and Veronica is brilliantly explored, and as Veronica Moon’s illustrious photography career borne out of the movement took of, an uncompromising Leonie’s vitriolic writing struggled to find publishers and the balance of power shifted. I disliked Leonie’s blatantly unworkable approach to feminism and how she presented herself from the off. Vee is an ambitious and intelligent young woman from the home counties and although fairly naive, I vied with her at the outset, cheering when she showed a bit of backbone and stood up to Leonie and disappointed how easily she was convinced by her intractable attitude towards equality. Including Leonie’s niece, Erica, should have provided the story with a suitable way to reappraise the life of a contemporary intelligent working mother and perhaps if it was more balanced I would have cared. Unfortunately it was too one-sided to hold my interest as Erica attended a march on a whim and literally left her husband holding the baby as overnight she discovered her inner feminist!
This is the second of Stephanie Butland’s novels that I have read and although the mystery element was rather a non-event, and after simply reading the premise I correctly guessed what the controversial photo would depict, on the whole I found it worthwhile. Sustaining the secrecy surrounding the moments prior to the picture being taken heightens its importance unnecessarily however for what is an obvious revelation.
Compellingly constructed and indubitably well-written Stephanie Butland has captured the changing attitudes towards feminism of contemporary women and how, in the case of Erica, it has almost gone backwards. Whilst I enjoyed learning about landmark achievements I failed to connect with Leonie’s attitude and had issues with how she moulded Vee into a person I did not care for, and likewise Vee influenced Erica. To my mind the novel is also rather drawn-out, with the present day thoughts of Vee far less enlightening than the flashbacks to the actual events. I had expected The Woman in the Photograph to be a story of friendship more so than feminism however this is not the case and I did become impatient with the unnecessarily frequent rants on ‘the outdated patriarchy notions of society’!
3.5 stars
Enlightening and engaging in equal measure, Stephanie Butland’s testament to feminism is an accessible guide to the achievements of the Women’s Liberation movement and is underpinned by the friendship of strident second-wave vocal feminist and writer, Leonie Barratt, and the pioneering photographer who chronicled the campaign, Veronica “Vee” Moon. But as Veronica stands on the eve of an exhibition paying tribute to her career, she is faced with the controversial centrepiece and unflinching photograph of her long-term associate and best-friend that ended her career and simultaneously fuelled her retreat from public life. At the age of seventy and beleaguered by serious health issues, Vee’s retrospective is curated by Leonie’s niece, Erica, who is beginning to lose hope that the now reclusive photographer will break her silence on a turbulent friendship that defined the feminist movement.
The narrative is quite ingeniously constructed and as the reader is led through the series of seminal photographs from Vee’s career displayed in the retrospective, each image is accompanied by flashbacks to the time and Leonie’s monthly ‘Dear John’ columns published in This Month magazine. This is then followed by Vee’s reflections in 2018 and curator Erica’s own life and her frustration with her unequal domestic set-up and the burden of childcare falling on her. The first image, taken on the picket line of Ford Dagenham in 1968 as the female machinists demanded equal pay was the inaugural meeting of firebrand radical feminist, Leonie, and eager young photographer Vee Moon. Whilst women’s lib was a source of amusement in the lives of those surrounding Vee at home in Colchester, flirtatious Leonie swiftly takes her under her wing and introduces her to the cause. As Vee is drawn into the thrall of Leonie she quickly becomes devoted to the cause, with the appeal of the movement undoubtedly helped by her sexual attraction to her mentor.
The exhibition itself showcases Vee’s career highlights and is a whirlwind tour through feminism, from protests at the Miss World competition, the right to an abortion, the lack of recognition for domestic violence and the laws to uphold it, through to the right to be served in a pub and Margaret Thatcher becoming the first female leader of the nation. Not only was it shocking to discover how much the Women’s Liberation movement actually had to overcome, I was equally appalled to realise the implications of the legal constraints of the past that held women back.
The character arc of both Leonie and Veronica is brilliantly explored, and as Veronica Moon’s illustrious photography career borne out of the movement took of, an uncompromising Leonie’s vitriolic writing struggled to find publishers and the balance of power shifted. I disliked Leonie’s blatantly unworkable approach to feminism and how she presented herself from the off. Vee is an ambitious and intelligent young woman from the home counties and although fairly naive, I vied with her at the outset, cheering when she showed a bit of backbone and stood up to Leonie and disappointed how easily she was convinced by her intractable attitude towards equality. Including Leonie’s niece, Erica, should have provided the story with a suitable way to reappraise the life of a contemporary intelligent working mother and perhaps if it was more balanced I would have cared. Unfortunately it was too one-sided to hold my interest as Erica attended a march on a whim and literally left her husband holding the baby as overnight she discovered her inner feminist!
This is the second of Stephanie Butland’s novels that I have read and although the mystery element was rather a non-event, and after simply reading the premise I correctly guessed what the controversial photo would depict, on the whole I found it worthwhile. Sustaining the secrecy surrounding the moments prior to the picture being taken heightens its importance unnecessarily however for what is an obvious revelation.
Compellingly constructed and indubitably well-written Stephanie Butland has captured the changing attitudes towards feminism of contemporary women and how, in the case of Erica, it has almost gone backwards. Whilst I enjoyed learning about landmark achievements I failed to connect with Leonie’s attitude and had issues with how she moulded Vee into a person I did not care for, and likewise Vee influenced Erica. To my mind the novel is also rather drawn-out, with the present day thoughts of Vee far less enlightening than the flashbacks to the actual events. I had expected The Woman in the Photograph to be a story of friendship more so than feminism however this is not the case and I did become impatient with the unnecessarily frequent rants on ‘the outdated patriarchy notions of society’!
March 12, 2022
I have mixed feelings about this book. It was interesting to read of the feminist movement from the 70s -how hard they worked, what they thought and believed and how they behaved. And how in present day, they didn't get the results they had hoped for.
But I really wasn't invested in any of the three main characters. Although the premise of the book of interest and I was happy to finish it, I wasn't drawn to it.
But I really wasn't invested in any of the three main characters. Although the premise of the book of interest and I was happy to finish it, I wasn't drawn to it.
December 8, 2020
Really good!! I liked the way it was written going between the past and the present and included descriptions of the photographs and what was going on in the world. I also really liked the characters as they felt very real. It definitely taught me more about feminism and womens fight for equality in the 20th century.
May 2, 2025
This book appealed on lots of levels, it was thought provoking on feminism during the 1960s to 1980s, all within my own lifetime . The dynamics of relationships both platonic and otherwise were acutely observed and real without overwriting.
The central character is a photographer and there was great description of the joy and passion in getting the one photo that mattered in days pre digital cameras alongside missed opportunities to capture other fleeting but important moments in time.
Moving between the past and modern day worked for me as did the interludes on the writing of the two main characters. Listened on Audible and was engrossed.
The central character is a photographer and there was great description of the joy and passion in getting the one photo that mattered in days pre digital cameras alongside missed opportunities to capture other fleeting but important moments in time.
Moving between the past and modern day worked for me as did the interludes on the writing of the two main characters. Listened on Audible and was engrossed.
May 12, 2025
I would never have found this book or picked it up without my Mum reading it and recommending it.
I am baffled at how this has so little reviews and is so unheard of. In my opinion this is an absolutely incredible book I was utterly engrossed and absolutely loved it.
This is probably one of my favourite books I've ever read.
The Author's note I'm itself is worth a read.
The fact this wasn't nominated for women's prize for fiction 2019/2020 baffles me - it would've been a worthy winner.
Only suggestion would be - a better cover please!! This cover bores me and would never bring me to pick it up in a bookshop.
Listened on Audible- great narration.
5 🌟
I am baffled at how this has so little reviews and is so unheard of. In my opinion this is an absolutely incredible book I was utterly engrossed and absolutely loved it.
This is probably one of my favourite books I've ever read.
The Author's note I'm itself is worth a read.
The fact this wasn't nominated for women's prize for fiction 2019/2020 baffles me - it would've been a worthy winner.
Only suggestion would be - a better cover please!! This cover bores me and would never bring me to pick it up in a bookshop.
Listened on Audible- great narration.
5 🌟
June 4, 2022
For a novel in which the subject of photography plays such a prominent role, it is fitting that it chiefly represents a detailed and nuanced character portrait. Quietly powerful and unapologetically feminist in just about every respect, it takes inspiration from events in recent history to create a story that is thought-provoking and at times, surprisingly moving.
Running throughout the narrative is a barely concealed social commentary with a string of popular culture references, all alluding to the battle for women's rights over the past half a century. Each section is intelligently structured with dual timelines giving it that crucial added dimension, providing the backdrop for the characters to stand out with their impressive individuality and strength.
Veronica Moon is a renowned photographer who specialised in taking images of demonstrations and protest marches in favour of equality for women, in a career that began was launched at the Ford sewing machinists strike in 1968 and took in several other high-profile events before coming to an abrupt end in 1984 after the death of her long-term friend Leonie Barratt, a prominent feminist and columnist.
After meeting Leonie in 1968 and becoming empowered by her uncompromising views, Veronica calls off her engagement and moves in with Leonie, forming part of the 'Sisterhood'. They live together for several years until arguments over Veronica's increasing success lead to her moving out, although they remain in close contact.
In 2018, after many years out of the public eye, Veronica's work is now the subject of an exhibition organised by Leonie's niece Erica. By now she is reclusive and in declining health, but she is very intrigued by Erica and her lack of involvement in the feminist movement. When she unearths more of her historical photographs of Leonie, the past soon catches up with Veronica once again.
It is not the kind of book that contains multiple twists and turns or any great revelations; instead thriving on the topics it portrays and the quality of the storytelling. The relationships Veronica has with Leonie in the past and Erica in the present are so interesting, and the events which take place throughout both timelines contain a symbolic link to feminism.
A multimedia format is used as every section begins with the description of one of the photographs featured in the exhibition, before going back in the third person to the year it was taken. It then switches back to the present where it focuses on the perspectives of Erica and the older Veronica, while certain parts also include some of Leonie's outspoken magazine columns.
This structure meant that the story flowed nicely and never became too monotonous, especially as in the earlier timeline the passage of time allowed for a handy amount of character development. It was very noticeable to see how Veronica became enthralled upon meeting Leonie, and from there she progresses into quite a forceful, headstrong personality who knows her own mind. The same applies in the present, even as her health worsens.
Leonie is an absolute force to be reckoned with. She is a woman who flat out refuses to adhere to any societal norms of the time and in doing so ruffles a lot of feathers, even more so given that she is in an era where expectations of women were so rigid and they were treated as second class citizens. At times she could be too stubborn and disagreeable, but you have got to admire many of the things she stands for.
In contrast to the others, Erica was relatively unremarkable and I did not connect with her quite as much, although again it was clear to see how spending time with Veronica changed her outlook on things. The relationship Veronica had with her father was poignant and bittersweet, and the author also did a good job of exploring the contrast between Leonie and her sister Ursula, who did not share the same ideologies.
The writing is thoughtful and quite witty, as every meaningful sentence or line of dialogue has its words carefully chosen. Indeed, the feminist themes are so embedded in the plot that the author clearly owns them and puts a lot of herself into it. The historical events are woven in well and the ending is fitting, even if the gap between the two timelines could have been closed a little a better.
Overall, this is a sharply written book that entertains with its superbly drawn characters and a unique format that keeps things ticking along at a reasonable pace. You will not find much tension or high-octane drama, but it has a very clear purpose and that is executed with real success, using feminism and the art of photography as its centrepiece.
Running throughout the narrative is a barely concealed social commentary with a string of popular culture references, all alluding to the battle for women's rights over the past half a century. Each section is intelligently structured with dual timelines giving it that crucial added dimension, providing the backdrop for the characters to stand out with their impressive individuality and strength.
Veronica Moon is a renowned photographer who specialised in taking images of demonstrations and protest marches in favour of equality for women, in a career that began was launched at the Ford sewing machinists strike in 1968 and took in several other high-profile events before coming to an abrupt end in 1984 after the death of her long-term friend Leonie Barratt, a prominent feminist and columnist.
After meeting Leonie in 1968 and becoming empowered by her uncompromising views, Veronica calls off her engagement and moves in with Leonie, forming part of the 'Sisterhood'. They live together for several years until arguments over Veronica's increasing success lead to her moving out, although they remain in close contact.
In 2018, after many years out of the public eye, Veronica's work is now the subject of an exhibition organised by Leonie's niece Erica. By now she is reclusive and in declining health, but she is very intrigued by Erica and her lack of involvement in the feminist movement. When she unearths more of her historical photographs of Leonie, the past soon catches up with Veronica once again.
It is not the kind of book that contains multiple twists and turns or any great revelations; instead thriving on the topics it portrays and the quality of the storytelling. The relationships Veronica has with Leonie in the past and Erica in the present are so interesting, and the events which take place throughout both timelines contain a symbolic link to feminism.
A multimedia format is used as every section begins with the description of one of the photographs featured in the exhibition, before going back in the third person to the year it was taken. It then switches back to the present where it focuses on the perspectives of Erica and the older Veronica, while certain parts also include some of Leonie's outspoken magazine columns.
This structure meant that the story flowed nicely and never became too monotonous, especially as in the earlier timeline the passage of time allowed for a handy amount of character development. It was very noticeable to see how Veronica became enthralled upon meeting Leonie, and from there she progresses into quite a forceful, headstrong personality who knows her own mind. The same applies in the present, even as her health worsens.
Leonie is an absolute force to be reckoned with. She is a woman who flat out refuses to adhere to any societal norms of the time and in doing so ruffles a lot of feathers, even more so given that she is in an era where expectations of women were so rigid and they were treated as second class citizens. At times she could be too stubborn and disagreeable, but you have got to admire many of the things she stands for.
In contrast to the others, Erica was relatively unremarkable and I did not connect with her quite as much, although again it was clear to see how spending time with Veronica changed her outlook on things. The relationship Veronica had with her father was poignant and bittersweet, and the author also did a good job of exploring the contrast between Leonie and her sister Ursula, who did not share the same ideologies.
The writing is thoughtful and quite witty, as every meaningful sentence or line of dialogue has its words carefully chosen. Indeed, the feminist themes are so embedded in the plot that the author clearly owns them and puts a lot of herself into it. The historical events are woven in well and the ending is fitting, even if the gap between the two timelines could have been closed a little a better.
Overall, this is a sharply written book that entertains with its superbly drawn characters and a unique format that keeps things ticking along at a reasonable pace. You will not find much tension or high-octane drama, but it has a very clear purpose and that is executed with real success, using feminism and the art of photography as its centrepiece.
October 1, 2024
A gripping story of women in the past, women in the present, and the feminist movement through the decades. It isn't afraid to ask tough questions.
July 11, 2019
The Woman in the Photograph brings to light the history of feminism from the 1960s onward in a book which I found completely compelling.
Veronica Moon - Vee - is a press photographer at a time when it was a very male dominated profession. Unlike her male colleagues though, she gets sent on mundane assignments such as photographing local Church sales. This all changes when, on one of her days off, she decides to go to Dagenham where female workers are striking for equal pay. This is her first experience of women vociferously voicing their anger at sexism and inequality. She meets Leonie, the subject of what becomes her most famous photograph, perhaps infamous is a better word, and her life is never the same. This photograph is the focus of a mystery at the heart of the story - why did it ruin Vee's flourishing career and why did she hardly ever take another photograph?
I was young in the 70s but I can remember that feminism was almost a dirty word. It was often a really derogatory term. We're talking about a time when women often gave up work when they married, almost always did when they had children and couldn't even buy their own drink in some pubs! Men certainly couldn't be feminists - they seen as the enemy, the patriarchy. Vee was a bit conflicted about this initially as she had been brought up by her father who always encouraged and supported her.
The relationship between Leonie and Vee was fascinating. Leonie was strong, determined and outspoken. Vee was quieter but grew in confidence throughout the book both as a woman and as a photographer. She saw herself as already being part of a change to a certain extent, being a woman photographer in a sphere that had largely been a male domain.
In 2018, Leonie's niece Erica is putting on a retrospective exhibition of Vee's photography. Through her we see how times and attitudes have. It is true that early feminists started a time of great progress for women but perhaps not enough yet. For example, Erica's husband talks about babysitting his own child. And he's not alone in that attitude as I'm sure many women will recognise. Women are still considered primary caregivers for their children whether they work or not.
The main themes of this book of feminism, sexuality and equality, are brought into sharp focus through the all seeing eye of the camera. Significant moments in the history of feminism are caught by Vee's camera but it's more than just the moment, a photo is the glimpse of a person, a life and there is always a story behind each photo.
I must mention that I thought the structure of the book was very effective. Each section begins with a part of Vee's unpublished book for women photographers, followed by an explanation of one of the photos in the exhibition. There is some information about what was happening that year and then what was happening for Vee and Leonie, bringing it right down to the personal detail. And it is this personal detail which I so enjoyed in the book, the intense friendship between the two women and the way the bonds between them grew as the fight for equality continued. It wasn't always an easy friendship, Leonie was often a volatile person. But the bonds between the two were strong and influential throughout their lives.
The Woman in the Photograph is an outstanding five star read. It made me grateful to all the feminists who stood up for themselves and other women and helped make the world a better, more equal place for women today. To paraphrase the book slightly, it is a must-read for anyone who cares about the past and future of feminism.
Veronica Moon - Vee - is a press photographer at a time when it was a very male dominated profession. Unlike her male colleagues though, she gets sent on mundane assignments such as photographing local Church sales. This all changes when, on one of her days off, she decides to go to Dagenham where female workers are striking for equal pay. This is her first experience of women vociferously voicing their anger at sexism and inequality. She meets Leonie, the subject of what becomes her most famous photograph, perhaps infamous is a better word, and her life is never the same. This photograph is the focus of a mystery at the heart of the story - why did it ruin Vee's flourishing career and why did she hardly ever take another photograph?
I was young in the 70s but I can remember that feminism was almost a dirty word. It was often a really derogatory term. We're talking about a time when women often gave up work when they married, almost always did when they had children and couldn't even buy their own drink in some pubs! Men certainly couldn't be feminists - they seen as the enemy, the patriarchy. Vee was a bit conflicted about this initially as she had been brought up by her father who always encouraged and supported her.
The relationship between Leonie and Vee was fascinating. Leonie was strong, determined and outspoken. Vee was quieter but grew in confidence throughout the book both as a woman and as a photographer. She saw herself as already being part of a change to a certain extent, being a woman photographer in a sphere that had largely been a male domain.
In 2018, Leonie's niece Erica is putting on a retrospective exhibition of Vee's photography. Through her we see how times and attitudes have. It is true that early feminists started a time of great progress for women but perhaps not enough yet. For example, Erica's husband talks about babysitting his own child. And he's not alone in that attitude as I'm sure many women will recognise. Women are still considered primary caregivers for their children whether they work or not.
The main themes of this book of feminism, sexuality and equality, are brought into sharp focus through the all seeing eye of the camera. Significant moments in the history of feminism are caught by Vee's camera but it's more than just the moment, a photo is the glimpse of a person, a life and there is always a story behind each photo.
I must mention that I thought the structure of the book was very effective. Each section begins with a part of Vee's unpublished book for women photographers, followed by an explanation of one of the photos in the exhibition. There is some information about what was happening that year and then what was happening for Vee and Leonie, bringing it right down to the personal detail. And it is this personal detail which I so enjoyed in the book, the intense friendship between the two women and the way the bonds between them grew as the fight for equality continued. It wasn't always an easy friendship, Leonie was often a volatile person. But the bonds between the two were strong and influential throughout their lives.
The Woman in the Photograph is an outstanding five star read. It made me grateful to all the feminists who stood up for themselves and other women and helped make the world a better, more equal place for women today. To paraphrase the book slightly, it is a must-read for anyone who cares about the past and future of feminism.
October 7, 2019
Female friendship and the fight for equality in, The Woman In The Photograph, Steph Butland’s latest fictional offering.
I loved how the book was split in to various sections, each one starting with a synopsis of one of Veronica Moon’s exhibition photographs. The little snippets as to what was going on in the year the photograph was taken were fascinating. Especially when you could contrast this with what life was like [for women] in the following chapters. So Apollo 8 orbited the moon, allowing the famous Earthrise photograph to be taken, yet woman still couldn’t be served alcohol at a bar in 1968.
We followed Veronica’s career as it intertwined around real life events – from the 1968 Ford Dagenham car plant strike right up to the #MeToo movement. It all made for fascinating reading, and that’s not even mentioning the characters or the insight into feminism that Butland also delivered.
Alongside the exhibition pieces my favourite parts were Leonie’s ‘Dear John’ letters. These delivered an ambush of sentences highlighting the subtleties of women’s everyday struggles of living in a man’s world. From payment at restaurants to the ‘nagging’ of men, all delivered with Leonie’s acidic prose.
The Woman In The Photograph needed Leonie with her unyielding don’t give a f@$k attitude. The contrast against Veronica’s meekness only highlighted how you could be a lion(ess) or a lamb and yet still be a feminist. I’m so pleased Butland didn’t go down the lesbian route with Leonie and Veronica. It would have been too cliched and the focus would have shifted from the very excellently portrayed fight for women’s rights.
Making it all relevant was career woman/wife/mother Erica. Representing second wave feminism, she illustrated how the world hasn’t changed as much as the first wave would have hoped. I recognised myself in Erica. In her struggles to balance her high heeled wearing career with her family. Because that’s what women are faced with today, the image that you can have it all v the colossal strength it takes to make that a reality. Yes women can work (although will still probably be paid less). Yet the guilt that goes alongside leaving a poorly child or the race to get home before nursery shuts is an everyday struggle. Can we really have our cake and eat it?
I came away from The Woman In The Photograph looking at the world slightly differently. Beforehand I considered myself to be pretty empowered, pretty equal. After all I was living in 2019. Yet the little details that Butland picked up on resonated with me in a way that sat uncomfortably against my previous outlook. I’m not comfortable just ‘men bashing’, but the book has certainly made me look hard at what is considered the status quo and why. To quote one of the statistics used in the book:
“No country in the world has successfully eliminated discrimination against women or achieved full equality” United Nations. 2018″
My thanks go to Stephanie Butland for providing me with a signed copy of The Woman In The Photograph. More than any other I’ve read this year it has made me stop and think. A very worthwhile read.
I loved how the book was split in to various sections, each one starting with a synopsis of one of Veronica Moon’s exhibition photographs. The little snippets as to what was going on in the year the photograph was taken were fascinating. Especially when you could contrast this with what life was like [for women] in the following chapters. So Apollo 8 orbited the moon, allowing the famous Earthrise photograph to be taken, yet woman still couldn’t be served alcohol at a bar in 1968.
We followed Veronica’s career as it intertwined around real life events – from the 1968 Ford Dagenham car plant strike right up to the #MeToo movement. It all made for fascinating reading, and that’s not even mentioning the characters or the insight into feminism that Butland also delivered.
Alongside the exhibition pieces my favourite parts were Leonie’s ‘Dear John’ letters. These delivered an ambush of sentences highlighting the subtleties of women’s everyday struggles of living in a man’s world. From payment at restaurants to the ‘nagging’ of men, all delivered with Leonie’s acidic prose.
The Woman In The Photograph needed Leonie with her unyielding don’t give a f@$k attitude. The contrast against Veronica’s meekness only highlighted how you could be a lion(ess) or a lamb and yet still be a feminist. I’m so pleased Butland didn’t go down the lesbian route with Leonie and Veronica. It would have been too cliched and the focus would have shifted from the very excellently portrayed fight for women’s rights.
Making it all relevant was career woman/wife/mother Erica. Representing second wave feminism, she illustrated how the world hasn’t changed as much as the first wave would have hoped. I recognised myself in Erica. In her struggles to balance her high heeled wearing career with her family. Because that’s what women are faced with today, the image that you can have it all v the colossal strength it takes to make that a reality. Yes women can work (although will still probably be paid less). Yet the guilt that goes alongside leaving a poorly child or the race to get home before nursery shuts is an everyday struggle. Can we really have our cake and eat it?
I came away from The Woman In The Photograph looking at the world slightly differently. Beforehand I considered myself to be pretty empowered, pretty equal. After all I was living in 2019. Yet the little details that Butland picked up on resonated with me in a way that sat uncomfortably against my previous outlook. I’m not comfortable just ‘men bashing’, but the book has certainly made me look hard at what is considered the status quo and why. To quote one of the statistics used in the book:
“No country in the world has successfully eliminated discrimination against women or achieved full equality” United Nations. 2018″
My thanks go to Stephanie Butland for providing me with a signed copy of The Woman In The Photograph. More than any other I’ve read this year it has made me stop and think. A very worthwhile read.
June 29, 2019
3.5 Stars
This is an undeniably well written book with solid pacing and a strong narrator in Vee. Starting with the Ford Dagenham women striking for equal pay and taking us up to the modern day it charts Vee's rise as a professional photographer and as one of the Second Wave Of Feminism. Split in to 7 Sections (like the Seven Ages Of Man - I see what you did there author, I see) each is prefaced by a description of a photograph and the major events of the year it was taken and then goes on to tell us, from Vee's perspective, what happened in her life during this period. This is effective and helps sink the reader in to the setting.
My issue really came with the introduction of Leonie. She represents everything that makes my teeth itch about Feminism. This is a woman that espouses equality but really wants domination over and the subjugation of men. Strangely this is best shown in her interactions with other women, even her supposed Sisters, who she browbeats in to accepting her ideology. Whilst she appears to be good for Vee initially I really felt that she, ultimately, ruined Vee's personal life and hopes for happiness.
When we finally met Erica, Leonie's niece, who is setting up the retrospective of Vee's work we are invited to see her as a repressed woman. Concerned with trying to juggle family and professional life, initially you empathise with her as these are struggles any parent can relate to. The problem comes when Vee gets to know her on a personal level and indoctrinates her in to the ways of Feminism. I got so angry with the portrayal of Erica's husband as being infantilised and almost a second child for her to raise. Yes, there are men like that but equally there are a vast number that genuinely co-parent and have a partnership with their significant other but this is a relationship stuck in a 1950s time warp.
Unfortunately there is no separation between the author and the subject and her own views come through strongly. These are views that I, personally, find borderline toxic and it did really spoil the story for me as I could feel my blood boiling regularly throughout the story. Yes, I am female. Yes, I am a married working mother. Yes, I do believe that all people should be treated fairly and equally. No, I do not believe that this what the Feminist Movement wants.
The book itself is very well written and the author should be applauded for having the courage of her convictions (even if in my case it would be with a somewhat sarcastic slow handclap). The characters are well drawn and, with the exception of Leonie, are mainly sympathetically written, multi-faceted people. Emotions feel genuine and in proportion to the events. However, my personal bias against the subject matter did colour my enjoyment and subsequent review of the material.
THIS IS AN HONEST REVIEW OF A FREE COPY OF THE BOOK RECEIVED VIA READERS FIRST.
This is an undeniably well written book with solid pacing and a strong narrator in Vee. Starting with the Ford Dagenham women striking for equal pay and taking us up to the modern day it charts Vee's rise as a professional photographer and as one of the Second Wave Of Feminism. Split in to 7 Sections (like the Seven Ages Of Man - I see what you did there author, I see) each is prefaced by a description of a photograph and the major events of the year it was taken and then goes on to tell us, from Vee's perspective, what happened in her life during this period. This is effective and helps sink the reader in to the setting.
My issue really came with the introduction of Leonie. She represents everything that makes my teeth itch about Feminism. This is a woman that espouses equality but really wants domination over and the subjugation of men. Strangely this is best shown in her interactions with other women, even her supposed Sisters, who she browbeats in to accepting her ideology. Whilst she appears to be good for Vee initially I really felt that she, ultimately, ruined Vee's personal life and hopes for happiness.
When we finally met Erica, Leonie's niece, who is setting up the retrospective of Vee's work we are invited to see her as a repressed woman. Concerned with trying to juggle family and professional life, initially you empathise with her as these are struggles any parent can relate to. The problem comes when Vee gets to know her on a personal level and indoctrinates her in to the ways of Feminism. I got so angry with the portrayal of Erica's husband as being infantilised and almost a second child for her to raise. Yes, there are men like that but equally there are a vast number that genuinely co-parent and have a partnership with their significant other but this is a relationship stuck in a 1950s time warp.
Unfortunately there is no separation between the author and the subject and her own views come through strongly. These are views that I, personally, find borderline toxic and it did really spoil the story for me as I could feel my blood boiling regularly throughout the story. Yes, I am female. Yes, I am a married working mother. Yes, I do believe that all people should be treated fairly and equally. No, I do not believe that this what the Feminist Movement wants.
The book itself is very well written and the author should be applauded for having the courage of her convictions (even if in my case it would be with a somewhat sarcastic slow handclap). The characters are well drawn and, with the exception of Leonie, are mainly sympathetically written, multi-faceted people. Emotions feel genuine and in proportion to the events. However, my personal bias against the subject matter did colour my enjoyment and subsequent review of the material.
THIS IS AN HONEST REVIEW OF A FREE COPY OF THE BOOK RECEIVED VIA READERS FIRST.
July 15, 2019
I’m torn, so I’ll say 3.5. This is undoubtedly an important read. Following the growth of feminism from the 1960s to the present day shows how the role of women has changed, but also how much has stayed the same. The points of ‘what happened in this year’ throughout the history of the story show that we are still in an age of pay gaps and where #metoo movements are needed. Leonie would be frustrated.
But Leonie herself is also frustrating. Her character is selfish, is is for herself rather than for her ‘sisters’ as she claimed to be. Jealous and resentful of Vee for being successful. Claiming that Vee had to sell out to be a success rather than being appreciative of the progression for women she claimed to want. Vee’s character was also aggravating; she judged Erica’s fashion sense and nose job for conforming to what men expect of her - what if she wanted to wear heels and make up for herself, not for a man? Leonie becomes obese so as to not conform to man’s view of beauty - yet suffers and spites herself in order to do this. Assuming everything a woman does is to please or oppose men assumed that women have no rights or mind for themselves and thus counters the purpose of this book! Hence why I am torn.
I did also expect a greater twist in Leonie’s death. This secret unspoken photograph feels as though it should have a more dramatic revelation. I suppose the message is that it is the little things that everyone does which can make a difference for women; she did not need to become a dramatic martyr for that cause, because no one should have to become a martyr for their cause.
All gripes aside, I hugely enjoyed the structure of this book. The consistent switches between the past and present, with the informative excerpts from the exhibition interwoven, and interesting snippets of history gave this book a riveting format. Embracing the factual history in which this fictional narrative is set - the formatting of this book is as much a work of art as Vee’s photographs themselves.
But Leonie herself is also frustrating. Her character is selfish, is is for herself rather than for her ‘sisters’ as she claimed to be. Jealous and resentful of Vee for being successful. Claiming that Vee had to sell out to be a success rather than being appreciative of the progression for women she claimed to want. Vee’s character was also aggravating; she judged Erica’s fashion sense and nose job for conforming to what men expect of her - what if she wanted to wear heels and make up for herself, not for a man? Leonie becomes obese so as to not conform to man’s view of beauty - yet suffers and spites herself in order to do this. Assuming everything a woman does is to please or oppose men assumed that women have no rights or mind for themselves and thus counters the purpose of this book! Hence why I am torn.
I did also expect a greater twist in Leonie’s death. This secret unspoken photograph feels as though it should have a more dramatic revelation. I suppose the message is that it is the little things that everyone does which can make a difference for women; she did not need to become a dramatic martyr for that cause, because no one should have to become a martyr for their cause.
All gripes aside, I hugely enjoyed the structure of this book. The consistent switches between the past and present, with the informative excerpts from the exhibition interwoven, and interesting snippets of history gave this book a riveting format. Embracing the factual history in which this fictional narrative is set - the formatting of this book is as much a work of art as Vee’s photographs themselves.
May 8, 2022
This was the April selection for our library virtual reading group.
It proved quite a solid work of historical fiction that explored aspects of feminism through the lens of a photographer.
It was generally well received by the group and generated plenty of discussion
It proved quite a solid work of historical fiction that explored aspects of feminism through the lens of a photographer.
It was generally well received by the group and generated plenty of discussion
July 1, 2019
Veronica Moon meets Leonie Bartlett while photographing the womens strike at Dagenham. They quickly become friends and Veronica is drawn into the new world of Women's Lib. Years later Leonie is gone and Veronica is approached to have her photographs in an exhibition. This however brings back lots of memories especially what happened between the two women,
This book was a little bit out my comfort zone but to my surprise I was quickly drawn into the story. I found the story a nice easy read and it held my interest until the end,
The story delves into the world of being a women and the way things have gradually changed over the years. It really made stop and think at times with what today is taken for granted and how things were in the past. Things like equal pay, abortion and being able to have a mortgage have not been easy for a women.
The other part of the story follows the two women and what happens between them. This part for me was interesting and I did guess the little twist early on. To say anymore would give the story away.
I quite enjoyed the book and at times it was very thought provoking. Thank you the publisher via Readers First for the opportunity to read and review the book.
This book was a little bit out my comfort zone but to my surprise I was quickly drawn into the story. I found the story a nice easy read and it held my interest until the end,
The story delves into the world of being a women and the way things have gradually changed over the years. It really made stop and think at times with what today is taken for granted and how things were in the past. Things like equal pay, abortion and being able to have a mortgage have not been easy for a women.
The other part of the story follows the two women and what happens between them. This part for me was interesting and I did guess the little twist early on. To say anymore would give the story away.
I quite enjoyed the book and at times it was very thought provoking. Thank you the publisher via Readers First for the opportunity to read and review the book.
July 3, 2019
I do not consider myself a feminist, and this book has not changed that however this book seemed like a really interesting and thought provoking story. Following the feminist movement from the late 1960's this was somewhat educational, even in a fiction novel, due to the very much relatable and warm character of Vee. Leonie though, I'm not a fan of. She is everything I dislike about feminists, practically bullying the woman around her to believe what she believes. The mix of media style used throughout this book worked really well in this novel although in my opinion the pacing suffered somewhat in the second half. I'm not sure I would recommend this book however, it just wasn't for me.
Although all opinions are my own, I would like to thank Zaffre and Readers First for an advanced publication copy.
Although all opinions are my own, I would like to thank Zaffre and Readers First for an advanced publication copy.
June 29, 2019
It's a beautiful tale about sisterhood, female friendship and the Womens Lib movement.
•
We start the story with a photo gallery exhibition, celebrating the life and work of one of the first female and feminist photographer, Veronica Moon. And the photo that ended her career.
•
In flashbacks, we find out how she met Leonie and how her whole life changed when she decided to photograph the Ford factory strike in Dagenham. We also get history snippets to put into perspective what was happening in the world at the same time.
•
I really enjoyed this book. It's educational, thought-provoking, serious yet funny. It makes you realise that everything we are used to taking for granted nowadays was hard fought for, earned and bled for by many women that came before us and wanted a better world for future generations. I wholeheartedly recommend that you all read it.
•
We start the story with a photo gallery exhibition, celebrating the life and work of one of the first female and feminist photographer, Veronica Moon. And the photo that ended her career.
•
In flashbacks, we find out how she met Leonie and how her whole life changed when she decided to photograph the Ford factory strike in Dagenham. We also get history snippets to put into perspective what was happening in the world at the same time.
•
I really enjoyed this book. It's educational, thought-provoking, serious yet funny. It makes you realise that everything we are used to taking for granted nowadays was hard fought for, earned and bled for by many women that came before us and wanted a better world for future generations. I wholeheartedly recommend that you all read it.
April 29, 2022
Wow.
Brilliant right up to and including the authors note at the end. Don’t skip that.
Brilliant right up to and including the authors note at the end. Don’t skip that.
December 12, 2024
I stopped commuting to work during reading this book which is why it took so long to read! Very interesting as I didn’t know much about second wave feminism
February 16, 2021
Fantastic book - makes me wish I was a bit older so I could have been involved in the second wave feminist movement. I laughed and cried. Really makes you think how the world has changed and how much still needs to be achieved.
July 1, 2019
Veronica (Vee) Moon’s passion for photography started when she was seven years old, a bridesmaid at a cousin’s wedding. Fascinated on the day by what was happening beneath the cloth the photographer was hiding under, when she subsequently heard relatives reminiscing about the day whenever they looked through the album, she realised how important photographs are in enabling people to relive a particular moment in time. From that moment she wanted a camera of her own, finally fulfilling this dream when, aged fifteen, she bought one for herself. As she couldn’t afford to have her films developed, she created a makeshift darkroom under the stairs and learnt how to do it for herself, marvelling at the alchemy of the process, and her ability to manipulate it. When she started work as a junior photographer at the “Colchester Echo”, she was delighted. However, although she knew she was capable of producing good work, she realised that she would never be sent on any interesting assignments but instead would be restricted to taking photographs at minor charity events, coffee mornings etc because her male colleagues saw her interest in photography as a hobby.
However, all this changed in June 1968. Fascinated by news coverage of the women machinists whose walkout, in protest at being paid less than their male counterparts, had brought production at the Ford Dagenham factory to a halt, when her editor refused his permission for her to attend in an official capacity, she decided to use her day off to visit the picket line and take photographs. Her fiancé, Barry, thought it was a “funny thing to do” on her day off, but little did he realise that what she discovered that day would lead to her breaking off their engagement and changing the direction of her life. It was there that she met not only the striking workers, but also Leonie Barratt, a passionate, angry activist who was determined to fight for equality and to use every opportunity to challenge the status quo. Leonie took the naïve Vee under her wing and her inclusion of one of Vee’s picket-line photographs, to accompany an article appearing in “This Month” magazine, led to Vee’s work getting its first exposure in the UK press. The friendship which quickly developed between them led to Vee breaking off her engagement, moving to London to live with Leonie, becoming more involved in the ongoing fight to achieve equal rights for women and pursuing a very successful career in photography.
The story starts in 2018: Leonie is dead, and Vee, now seventy, is suffering with a degenerative health problem and living a reclusive life. Although for decades she had been regarded as a pioneer for change, heralded as one of the most accomplished photographers of the twentieth century, a photograph taken more than thirty years earlier provoked such controversy and criticism that it immediately marked the end of her career. It is that image which is to be the centrepiece of an upcoming exhibition. Entitled “Women in their Power: Veronica Moon and Second Wave Feminism”, it is a project close to the heart of Leonie’s niece, Erica. Her discovery of a box of her aunt’s papers and photographs revealed a link between a woman who had been a feminist way ahead of her time, and a photographer who had retreated from the public eye. Erica becomes determined to rescue both these women from obscurity and, in doing so, hopes to kick-start her own career, which had faltered in the face of competing family demands.
Through the relationship which develops between Vee and Erica, as Erica researches the background to Vee’s career and her relationship with Leonie, the story, told in flashbacks to the 1960s, 70s and 80s, gradually reveals Vee’s recollections of this significant time in her life. Split into seven parts (subject, light, focus, distance, movement, exposure, development) each section is introduced not only by a description of a particular image and Vee’s approach to photographing her subjects, but also by a list of significant events which occurred during the year it was taken, with footnotes referring to the contemporary state of progress (or otherwise!) in the Women’s Movement. However, this was not just a look back at history but, through Erica’s life as a young married mother who was trying to juggle the often-conflicting needs of family and career, was an exploration of the changing face of feminism in the twenty first century, and the ongoing struggle for equality.
I thoroughly enjoyed this fascinating, thought-provoking story of the power of female friendship and the history of the growth of feminism in the past fifty years. Each of the characters portrayed felt multi-faceted, convincingly drawn and used to good effect to explore the changing face of feminism over this period. Whilst it is undeniable that progress has been made in the last half century, the story also demonstrates that the battle for equality is far from over, that women still need to make their voices heard; to own their power and not to be afraid of it; not to fear being seen as strident if they demand more; not to play down their achievements, or find it hard to accept compliments for them – how many men are similarly self-effacing about these issues? The story made me reflect on how things have changed from the start of the Women’s Lib movement in the 1960s to the contemporary #MeToo movement and to challenge my own beliefs on how far we have come. It made me think in much more detail about the sexism which continues to exist and which, because of its all too often insidious nature, is perhaps even harder to challenge without being accused of being either strident, hypersensitive – or even too politically correct!
I really enjoyed the occasional “Letters from a Feminist”, written by Leonie for “This Month” magazine. Addressed “Dear John” and described as “our monthly column from the front line of the Battle of the Sexes”, these letters added an extra dimension to Leonie’s reflections on feminism, the fight for equality, the challenge to men to reflect on this and to change their behaviour. Evocatively capturing the contemporary language, attitudes and ongoing struggle of mid-twentieth century feminists, these letters alone would provide rich material for reading groups!
I loved the ways in which, throughout the story, the art and technical skill of photography was a central theme, effectively demonstrating how a photographer’s power to create, and own, an image was so much greater when using film than it is in our digital age. The spectre of the infamous photograph, which brought Vee’s career as a photographer to an abrupt end, hovered throughout the story-telling, until its genesis was firstly revealed, and then analysed by Vee, enabling a different light to be shone on it. One of the things which made this so powerful for me was its challenge to the saying “the camera never lies”. Not only is any image a mere capturing of a moment in time, but the final result takes no account of the fact that, however other people choose to interpret it, only the photographer knows what was really happening at the time of exposure, and what the intent was behind the decision to focus on that particular image. This thought-provoking exploration of the genesis of the controversial photograph made me reflect on the parallels with how, once a book has been published, an author is equally powerless to control how a reader will interpret their lovingly created story!
To paraphrase just one of the author’s reflections on feminism and the ongoing fight for equality in 2018 – Theresa May is the UK’s second female prime minister but when she and her husband were interviewed they referred to “girl jobs” and “boy jobs”! In her author’s note Stephanie Buckland makes a plea for “…. more unapologetic women. We need them in fiction, and we need them in the world.” I think it would be hard for anyone reading her eloquently written, impassioned story to disagree and I believe that her thought-provoking reflections will encourage readers (male as well as female!) to think about how they can continue to strive for true equality.
With thanks to Zaffre and Readers First for a copy of this book in exchange for an honest review.
July 11, 2019
The year is 1968. Veronica (Vee) Moon is a junior photographer for a local newspaper, but she is frustrated by the type of jobs considered suitable for a woman, in this male dominated environment. There are only so many church fairs and Mothers' Union meetings you can photograph before you go mad. Vee yearns to be part of a bigger story.
Vee does not know a lot about feminism, but she knows she wants more than to be the little wife of her fiance, Barry: tied to domestic servitude and motherhood, with a sweet martini and lemonade on a Saturday.
Vee decides to take a trip to see the on-going protest of the Ford Dagenham machinists, who are striking for equal pay, and to take some photographs while she is there. This is where she meets the fierce Leonie.
Leonie takes Vee under her wing and undertakes to be her mentor in the feminist cause. Vee's life starts to change from this day onwards. Leonie offers her the chance of a free and exciting life - one she has never even thought possible - at the heart of the rising tide of the fight for women's equality.
*********
Fifty years later, Vee lives the life of a recluse. Leonie has gone and the circumstances surrounding her death brought an end to Vee's ground-breaking career as a famous photographer.
One of Vee's final photographs - her most controversial one - of her friend Leonie, is now the focus of a new feminist exhibition being curated by Leonie's niece, Erica. Vee has been persuaded out of her home to help Erica with the exhibition, and buried memories of the past are resurfacing. What really happened on the day Leonie died? Is it time to let go of the pain of the past and step back into the light?
*********************************************************************************
What a wonderful book! It has been an absolute pleasure to read.
There is an fabulous "light bulb" moment in this book too, which I thoroughly loved!
The story alternates between two different timelines - significant moments in the past for Vee and Leonie; and moments from the present day for Vee and Erica, as preparations for the exhibition progress.
Through the years, Leonie becomes increasing bitter that the direction of feminism has not gone the way she would have liked. Her ambition to become a successful published author has been thwarted at every turn, by her projects being just behind those published by the famous guiding lights of the feminist cause - although her "Dear John" column has been a success, even this has a sell by date in the end.
Meanwhile, Vee's career has gone from strength to strength and she has become a role model for women who want to forge ahead in the previously male-dominated areas. Leonie considers Vee to have "sold out", but Vee is actually benefiting from the changes initiated by women like Leonie and doing the best to make all the progress she can.
Leonie is a pretty tough character and she is not easy to like, especially as she gets older and her experiences seem to weigh her down. However, it is important to remember that the uncompromising women like Leonie, at the coal-face of the feminist movement, are the very ones we owe thanks to for initiating the very changes we benefit from today. Leonie is exactly the kind of character we need her to be in this story - one who can be a suitable mentor to the naive Vee - and she is a perfect vehicle to explain what feminism was hoping to achieve from the beginning. By explaining things to Vee, she is also explaining to the reader.
Vee is the softer face of feminism and she has more in common with the majority of women who "just wanted more" - the right to have freedom over their own bodies, make their own decisions, and control their own finances, without reference to a man.
Erica is the face of modern feminism - she has a lot more freedom that the women of Vee and Leonie's generation, but she sees the progress as more of leading to a right to decide how to live your life as a woman. Erica, as some of Leonie's friends from the past, show that it is important to include men in the fight for equality, rather than seeing them all as the enemy.
Interestingly, Vee takes on the role of staunch feminist herself, when she first starts to work with Erica and is disappointed that their struggles from the past have not led to women today having the equality she and her sisters hoped they would. In effect, Vee becomes the mentor to Erica., as their relatonship develops.
I think some of the younger readers of this book may be surprised by how much women were still controlled by the patriarchy in the later half of the twentieth century - for example, needing the permission of a male member of their family to apply for a mortgage, or even open a bank account/hold a cheque book. It is shocking to think that domestic violence within marriage was not even a crime until 1976!
I was born in 1967: the year that The Pill became available to unmarried women (only available from 1961 to married women) and that The Abortion Act became law. This has always given them a personal significance to me, especially since they made such a difference to the lives of women at the time, because this has all been within my own lifetime. For the first time, all women could choose whether to become mothers and the spectre of the back-street abortion was finally being laid to rest (more on this later).
The events covered in this book are therefore, all within the span of my own life, and women have made significant progress in the fight for equality during this time, following on from the work of the second wave feminist pioneers - albeit perhaps, not as much as was hoped.
Of course, I am too young to recall the Dagenham women's fight for equality or the protests at the 1970 Miss World competition first-hand, but I do remember pretty much every other milestone in this book - it was very helpful that each part of the book listed other memorable events, such as books, movies etc too. This makes it much easier to place the events in time.
There are a lot of books exploring feminism and the fight for equality among characters in their twenties/thirties recently, and although I enjoy reading them, they are more relevant to my children than myself. This book really spoke to me a much deeper level, as it has so much more to say about women of all ages.
Reading this book has made me think about whether the women of my own generation have actually done enough. Yes, things have been much better for us than for our own mothers, but will our daughters continue reap the same benefits? Have we sat back on our laurels and not continued to fight with the passion necessary to improve things even more for our own daughters?
It seems clear by the need for campaigns such as the recent #Metoo movement that there is still a lot of work to be done, but worse than that, the current political climate is leading to backward change - take the recent alterations in the law on abortion that are happening in some of the states of the USA. It is more important now, than ever, that we stand up against this trend - a return to the horror of the back-street abortion cannot be allowed to happen.
This is a fabulous book and I applaud Stephanie Butland for being brave enough to write it. I have found it to be something of a wake-up call and stirring to the soul, and will be recommending it widely.
Continue the fight Sisters....and remember to bring the men along too!
Vee does not know a lot about feminism, but she knows she wants more than to be the little wife of her fiance, Barry: tied to domestic servitude and motherhood, with a sweet martini and lemonade on a Saturday.
Vee decides to take a trip to see the on-going protest of the Ford Dagenham machinists, who are striking for equal pay, and to take some photographs while she is there. This is where she meets the fierce Leonie.
Leonie takes Vee under her wing and undertakes to be her mentor in the feminist cause. Vee's life starts to change from this day onwards. Leonie offers her the chance of a free and exciting life - one she has never even thought possible - at the heart of the rising tide of the fight for women's equality.
*********
Fifty years later, Vee lives the life of a recluse. Leonie has gone and the circumstances surrounding her death brought an end to Vee's ground-breaking career as a famous photographer.
One of Vee's final photographs - her most controversial one - of her friend Leonie, is now the focus of a new feminist exhibition being curated by Leonie's niece, Erica. Vee has been persuaded out of her home to help Erica with the exhibition, and buried memories of the past are resurfacing. What really happened on the day Leonie died? Is it time to let go of the pain of the past and step back into the light?
*********************************************************************************
What a wonderful book! It has been an absolute pleasure to read.
There is an fabulous "light bulb" moment in this book too, which I thoroughly loved!
The story alternates between two different timelines - significant moments in the past for Vee and Leonie; and moments from the present day for Vee and Erica, as preparations for the exhibition progress.
Through the years, Leonie becomes increasing bitter that the direction of feminism has not gone the way she would have liked. Her ambition to become a successful published author has been thwarted at every turn, by her projects being just behind those published by the famous guiding lights of the feminist cause - although her "Dear John" column has been a success, even this has a sell by date in the end.
Meanwhile, Vee's career has gone from strength to strength and she has become a role model for women who want to forge ahead in the previously male-dominated areas. Leonie considers Vee to have "sold out", but Vee is actually benefiting from the changes initiated by women like Leonie and doing the best to make all the progress she can.
Leonie is a pretty tough character and she is not easy to like, especially as she gets older and her experiences seem to weigh her down. However, it is important to remember that the uncompromising women like Leonie, at the coal-face of the feminist movement, are the very ones we owe thanks to for initiating the very changes we benefit from today. Leonie is exactly the kind of character we need her to be in this story - one who can be a suitable mentor to the naive Vee - and she is a perfect vehicle to explain what feminism was hoping to achieve from the beginning. By explaining things to Vee, she is also explaining to the reader.
Vee is the softer face of feminism and she has more in common with the majority of women who "just wanted more" - the right to have freedom over their own bodies, make their own decisions, and control their own finances, without reference to a man.
Erica is the face of modern feminism - she has a lot more freedom that the women of Vee and Leonie's generation, but she sees the progress as more of leading to a right to decide how to live your life as a woman. Erica, as some of Leonie's friends from the past, show that it is important to include men in the fight for equality, rather than seeing them all as the enemy.
Interestingly, Vee takes on the role of staunch feminist herself, when she first starts to work with Erica and is disappointed that their struggles from the past have not led to women today having the equality she and her sisters hoped they would. In effect, Vee becomes the mentor to Erica., as their relatonship develops.
I think some of the younger readers of this book may be surprised by how much women were still controlled by the patriarchy in the later half of the twentieth century - for example, needing the permission of a male member of their family to apply for a mortgage, or even open a bank account/hold a cheque book. It is shocking to think that domestic violence within marriage was not even a crime until 1976!
I was born in 1967: the year that The Pill became available to unmarried women (only available from 1961 to married women) and that The Abortion Act became law. This has always given them a personal significance to me, especially since they made such a difference to the lives of women at the time, because this has all been within my own lifetime. For the first time, all women could choose whether to become mothers and the spectre of the back-street abortion was finally being laid to rest (more on this later).
The events covered in this book are therefore, all within the span of my own life, and women have made significant progress in the fight for equality during this time, following on from the work of the second wave feminist pioneers - albeit perhaps, not as much as was hoped.
Of course, I am too young to recall the Dagenham women's fight for equality or the protests at the 1970 Miss World competition first-hand, but I do remember pretty much every other milestone in this book - it was very helpful that each part of the book listed other memorable events, such as books, movies etc too. This makes it much easier to place the events in time.
There are a lot of books exploring feminism and the fight for equality among characters in their twenties/thirties recently, and although I enjoy reading them, they are more relevant to my children than myself. This book really spoke to me a much deeper level, as it has so much more to say about women of all ages.
Reading this book has made me think about whether the women of my own generation have actually done enough. Yes, things have been much better for us than for our own mothers, but will our daughters continue reap the same benefits? Have we sat back on our laurels and not continued to fight with the passion necessary to improve things even more for our own daughters?
It seems clear by the need for campaigns such as the recent #Metoo movement that there is still a lot of work to be done, but worse than that, the current political climate is leading to backward change - take the recent alterations in the law on abortion that are happening in some of the states of the USA. It is more important now, than ever, that we stand up against this trend - a return to the horror of the back-street abortion cannot be allowed to happen.
This is a fabulous book and I applaud Stephanie Butland for being brave enough to write it. I have found it to be something of a wake-up call and stirring to the soul, and will be recommending it widely.
Continue the fight Sisters....and remember to bring the men along too!
February 16, 2021
I’m so torn on how many stars to give this but I think I’m settled for 3.5 as it left me with mixed feelings!
I thoroughly enjoyed this story and I do think that it’s an important read, that gives a deep insight inside the second wave feminism. It’s clever how the time jumps between the 60s, 70s, 80s and 2018 help to show the change in society through the years. I enjoyed the structure being divided in seven parts, and every part starting with a photograph from the exhibition. I thought the writing was beautiful and it flowed very easily, so much that I ended up reading over 100 pages in one sitting and only had to put it down because it was so late at night that my eyes were closing. There was clearly a huge amount of research behind this book and it comes through every page, very clearly.
All the characters we met were fairly well delineated, but sometimes I struggled to empathise with them. I tried but I didn’t really like Leonie at all. The only time I found her enjoyable was through the Dear John columns. Sometimes I felt like Vee was trying too hard to do anything just to please Leonie and that put me off a bit. I didn’t like how judgemental she was at the beginning when she meets Erica, but I’m glad that we see a shift in her perspective and she shows more understanding. I felt that in certain points, the author’s voice was a bit too aggressive and it got rather repetitive, and that almost made me stop reading the book however I’m glad I carried on.
This book was not what I expected when I first picked it up, and it was surprising in a good way. Overall I’m glad I finished it, and hadn’t it been for the cons listed above I’d have gladly given it 4stars. But I really liked her writing style, so I will happily read more of her books.
I thoroughly enjoyed this story and I do think that it’s an important read, that gives a deep insight inside the second wave feminism. It’s clever how the time jumps between the 60s, 70s, 80s and 2018 help to show the change in society through the years. I enjoyed the structure being divided in seven parts, and every part starting with a photograph from the exhibition. I thought the writing was beautiful and it flowed very easily, so much that I ended up reading over 100 pages in one sitting and only had to put it down because it was so late at night that my eyes were closing. There was clearly a huge amount of research behind this book and it comes through every page, very clearly.
All the characters we met were fairly well delineated, but sometimes I struggled to empathise with them. I tried but I didn’t really like Leonie at all. The only time I found her enjoyable was through the Dear John columns. Sometimes I felt like Vee was trying too hard to do anything just to please Leonie and that put me off a bit. I didn’t like how judgemental she was at the beginning when she meets Erica, but I’m glad that we see a shift in her perspective and she shows more understanding. I felt that in certain points, the author’s voice was a bit too aggressive and it got rather repetitive, and that almost made me stop reading the book however I’m glad I carried on.
This book was not what I expected when I first picked it up, and it was surprising in a good way. Overall I’m glad I finished it, and hadn’t it been for the cons listed above I’d have gladly given it 4stars. But I really liked her writing style, so I will happily read more of her books.
June 29, 2019
"A photograph was worth nothing if you couldn't find the emotions that went with it"
This is a story of feminism, determination, and challenging assumptions
The story follows Vee, a now-reclusive, once well-known photographer. The narrative alternates between Vee in the 1960s, 70s and 80s exploring her passion for photography and the new-found concept of women's liberation, and present day Vee and Erica. Erica wishes to exhibit some of Vee's most well known works, while Vee is reluctant to step back into the spotlight
This book reminded me a little of The Seven Husbands of Evelyn Hugo, in a way. Mostly in that it's the story of a woman once in the spotlight telling her story from her own perspective. We get the full story gradually and by flitting between the past and the present. Vee also has Erica, who acts as her Monique figure
It was interesting in this book to see the different types of feminism and the progression of the women's lib of the 1960s to the MeToo movement of 2018. It raises an interesting discussion of intersectional feminism versus those feminists who have a certain image in their minds that they think feminists and women have to fit
I really liked the snippets of real-life facts we got with the beginning of each new part concerning the relevant history of the time. It really helped to contextualise the story while it remained, widely, so focussed on the lives of Erica, Vee and Leonie
This is a story of feminism, determination, and challenging assumptions
The story follows Vee, a now-reclusive, once well-known photographer. The narrative alternates between Vee in the 1960s, 70s and 80s exploring her passion for photography and the new-found concept of women's liberation, and present day Vee and Erica. Erica wishes to exhibit some of Vee's most well known works, while Vee is reluctant to step back into the spotlight
This book reminded me a little of The Seven Husbands of Evelyn Hugo, in a way. Mostly in that it's the story of a woman once in the spotlight telling her story from her own perspective. We get the full story gradually and by flitting between the past and the present. Vee also has Erica, who acts as her Monique figure
It was interesting in this book to see the different types of feminism and the progression of the women's lib of the 1960s to the MeToo movement of 2018. It raises an interesting discussion of intersectional feminism versus those feminists who have a certain image in their minds that they think feminists and women have to fit
I really liked the snippets of real-life facts we got with the beginning of each new part concerning the relevant history of the time. It really helped to contextualise the story while it remained, widely, so focussed on the lives of Erica, Vee and Leonie
May 26, 2020
I have mixed feelings about this. I really didn't like the structure where every chapter opens with how a particular set of photographs were taken and with which camera, followed by a chronological list of significant events for that year. It felt very much like info dump and it grated. Erica has set up an exhibition for the work of Veronica Moon, a feminist photographer who was well known throughout the 70s and 80s before she hung up her camera. Veronica's mentor in the late 1960s was Leonie, a staunch feminist whom she met on the picket line at Dagenham when the women machinists went on strike for equal pay. It is the story of Veronica and Leonie's complicated friendship and a snapshot of their lives. Veronica is now in her 70s and has poor health. As she gets to know Erica, Leonie's niece, the fonder of each other they become. Erica is a modern women, but not a feminist and doesn't challenge the patriarchy. Veronica helps her to see things differently. I'm in my late fifties and found the subject matter rather old hat, having read books like The Women's Room, Fear of Flying, Fat Is A Feminist Issue and The Female Eunuch back in the early 80s. I did invest in the main characters, however and found it an enjoyable read.
August 5, 2019
This was a real treat! In part because it was bought for good manners, (although not unwillingly!) at a book event organised by Richard Drake of Drake the Bookshop, and Stephanie's excellent talk included mention of feminism which, in my experience, can too often become strident.
But no. As well as describing the would-be photographer Vee's discovery of a different way of thinking, there was enough of her robust common sense to counter it. Beginning in 1968 - two years after I married - and continuing to 2018, there was much in its history I recognised, and a good deal of well-thought-out argument to provide richness.
The structure of the book is clever and intelligent. The story compelling enough for me to have read it in almost one sitting. Strongly, freshly written and a total delight.
But no. As well as describing the would-be photographer Vee's discovery of a different way of thinking, there was enough of her robust common sense to counter it. Beginning in 1968 - two years after I married - and continuing to 2018, there was much in its history I recognised, and a good deal of well-thought-out argument to provide richness.
The structure of the book is clever and intelligent. The story compelling enough for me to have read it in almost one sitting. Strongly, freshly written and a total delight.
June 23, 2020
I am so glad I stumbled upon this book by accident on Amazon. Stephanie Butland has created a book that speaks so much to how so many women feel and is so easily relatable, especially at this point in time. Veronica Moon is probably my favourite character in a book for a long time. She is well written, develops well and there is no point where you question what is written or her reactions. I found myself questioning whether she was actually fictional by the time I had finished the book. If you want a book that questions what it is like to be a woman in society, that makes you really think about what has led us to this point, but in a beautiful way that shows also the true power of friendship and speaking truth even when it is tough, I suggest taking the time to read this book.
August 30, 2019
Essentially, The Woman in the Photograph is a novel about feminism, friendship and photography.
At the heart of the story of is Veronica (Vee) Moon, an Essex born photographer. We first meet her when she is young and working at a local Colchester newspaper. Her curiosity is roused with news of the female machinists' strike at the Dagenham Ford factory in 1968. On her day off, she goes along to take some photographs. While snapping away almost apologetically at the picket line, she meets Leoine, out-spoken and opinionated writer and committed feminist. This meeting changes the course of Vee's life and sets her on a path to becoming a celebrated and respected photographer and feminist.
In contrast to this timeline, we also meet Veronica when she is old, and her best friend Leonie has died. Vee is obviously ill, and has gaps in her memory due to an operation she had to remove a brain cancer she developed ten years previously. Veronica is living a solitary and almost reclusive life where she no longer takes photographs with her beloved camera.
Veronica's isolation is disturbed when she is contacted by a young woman named Erica who wants to create and curate an exhibition about Veronica's photography; she reluctantly agrees because Erica is Leonie's niece. Veronica wants to do this as a favour to Leonie.
I love how this book is structured around the exhibition of Veronica's photographs, many of them iconic and prize-winning; one of them career ending. This allows the narrative in the book to flow between 1968 and 2018, and each section of the book begins with a quotation from Veronica's unpublished book Women in Photographs and tells the tale around on a notable photograph taken by Veronica at different times, and charts the challenging and complicated friendship she had with Leonie.
I enjoyed this novel so much because it made me think deeply about women's rights and equality. Leonie and Vee don't have an easy friendship - it's full of tension and is simmering with uncertainty and resentment. Leonie introduced Veronica to the movement, but their approaches are contrasting - Leonie was loud and unapologetic where as Vee's approach was quieter but no less important; her commitment to the cause came from capturing important moments from behind her lens. We don't all have to come at things from the same angles to be valuable.
Then there's Erica - who is not very different to many women of my generation - trying to do it all 'backwards and in heels.' When Erica and Vee first meet, Vee fails to hide her incredulity and dismay at the way Leonie's niece has turned out. As they both spend larger amounts of time together preparing the exhibition, Vee and Erica both begin to profoundly influence each others lives and they change as they get to know each other better.
The mystery at the heart of the book which will keep you pondering until the end is: who is the woman in the photograph, and why does this particular photograph continue to haunt Veronica Moon?
Author Stephanie Butland has created a wonderful book weaving many interesting facts and important moments in the feminist movement from 1968 right up to the present day into a fictional tale of life-long friendship. She has made me think about my own feminism, and as a result I have made some resolutions resolving to be a better feminist. Undoubtedly, there's still a way to go on the road to true equality. I also loved the descriptions on the art of photography - it's something that has always fascinated me, but I know little about.
I won a copy of The Woman in the Photograph in a Twitter competition run by publisher Zaffre books, and was planning to just read it without writing a review. It's too important for that - I needed to share my thoughts!
I really enjoyed the sections at the end too, Author's Note, Acknowledgements and the Reading Group points for discussion.
At the heart of the story of is Veronica (Vee) Moon, an Essex born photographer. We first meet her when she is young and working at a local Colchester newspaper. Her curiosity is roused with news of the female machinists' strike at the Dagenham Ford factory in 1968. On her day off, she goes along to take some photographs. While snapping away almost apologetically at the picket line, she meets Leoine, out-spoken and opinionated writer and committed feminist. This meeting changes the course of Vee's life and sets her on a path to becoming a celebrated and respected photographer and feminist.
In contrast to this timeline, we also meet Veronica when she is old, and her best friend Leonie has died. Vee is obviously ill, and has gaps in her memory due to an operation she had to remove a brain cancer she developed ten years previously. Veronica is living a solitary and almost reclusive life where she no longer takes photographs with her beloved camera.
Veronica's isolation is disturbed when she is contacted by a young woman named Erica who wants to create and curate an exhibition about Veronica's photography; she reluctantly agrees because Erica is Leonie's niece. Veronica wants to do this as a favour to Leonie.
I love how this book is structured around the exhibition of Veronica's photographs, many of them iconic and prize-winning; one of them career ending. This allows the narrative in the book to flow between 1968 and 2018, and each section of the book begins with a quotation from Veronica's unpublished book Women in Photographs and tells the tale around on a notable photograph taken by Veronica at different times, and charts the challenging and complicated friendship she had with Leonie.
I enjoyed this novel so much because it made me think deeply about women's rights and equality. Leonie and Vee don't have an easy friendship - it's full of tension and is simmering with uncertainty and resentment. Leonie introduced Veronica to the movement, but their approaches are contrasting - Leonie was loud and unapologetic where as Vee's approach was quieter but no less important; her commitment to the cause came from capturing important moments from behind her lens. We don't all have to come at things from the same angles to be valuable.
Then there's Erica - who is not very different to many women of my generation - trying to do it all 'backwards and in heels.' When Erica and Vee first meet, Vee fails to hide her incredulity and dismay at the way Leonie's niece has turned out. As they both spend larger amounts of time together preparing the exhibition, Vee and Erica both begin to profoundly influence each others lives and they change as they get to know each other better.
The mystery at the heart of the book which will keep you pondering until the end is: who is the woman in the photograph, and why does this particular photograph continue to haunt Veronica Moon?
Author Stephanie Butland has created a wonderful book weaving many interesting facts and important moments in the feminist movement from 1968 right up to the present day into a fictional tale of life-long friendship. She has made me think about my own feminism, and as a result I have made some resolutions resolving to be a better feminist. Undoubtedly, there's still a way to go on the road to true equality. I also loved the descriptions on the art of photography - it's something that has always fascinated me, but I know little about.
I won a copy of The Woman in the Photograph in a Twitter competition run by publisher Zaffre books, and was planning to just read it without writing a review. It's too important for that - I needed to share my thoughts!
I really enjoyed the sections at the end too, Author's Note, Acknowledgements and the Reading Group points for discussion.
July 3, 2019
The Woman in the Photograph is author Stephanie Butland’s fifth novel. In the author notes at the end of the book she states she “is so damned proud of it”. She is right to feel this way because, as well as having a compelling storyline, it really captures the heart of campaigning (not just the feminist movement) and it brought back many memories for me of my own time on demonstrations.
The book opens in 1968 with Veronica (Vee) Moon who is a junior photographer on a local paper. Although Vee clearly has skills as a photographer, and is very keen to get on, she is not taken seriously by the male dominated news team. She is sent to photograph flower shows and store openings, rather than anything really significant. Taking matters into her own hands she visits the picket line at Dagenham where the women are on strike for equal pay. This changes her life forever: as she take photos of the strikers, some of which will begin to gain her recognition as a professional photographer, she meets strident feminist Leonie Barrett. Vee is instantly captivated with Leonie who is everything she isn’t. Before long the two have formed a strong and lasting friendship.
Now, fifty years later, Leonie’s niece Erica, is curating a retrospective exhibition of Vee’s extraordinary work, including the photograph that effectively ended her career; the photo of Leonie’s death. As Vee helps Erica prepare for the exhibition, we learn more about what happened to the two friends, and the relevance of that photograph.
I have read Butland’s previous two novels and really enjoyed them. Both of them featured strong independent women, but ultimately, they were love stories. The Woman in the Photograph however, is a much more mature novel, and the love is that between friends, rather than a romantic love. The strength of the novel is the depiction of female friendship. It perfectly illustrates that when a friendship is strong enough it can overcome differences of opinion and actions, and it can even be strengthened by these differences.
The book tells Vee’s life story, effectively alternating between her early life and her later life. I really enjoyed this style rather than a linear depiction, as you were able to see how Vee had matured and how early experiences influenced her thinking and decisions she made later in her life and career. Various narrative methods are used to progress the story: excerpts from Vee’s photography book for women; Leonie’s regular newspaper column; Erica’s notes from the exhibition as well as lists of what else of relevance was happening worldwide at that particular time. These additions help the reader to realise that the feminist movement has come a long way since the 1960s, but as recent well documented events show (the “Me Too” movement, the gender pay gap) there is still a long way to go.
The characters are all realistic and well written. I have read criticism of Leonie; some consider that she was not a sympathetic character and her views were off putting to some readers. We need to remember that Leonie’s reactions and opinions were borne out of the time she was in. Her battle began in the 1960s when feminism was not a household word, and very few men would have considered themselves feminists. That is why she was as strident as she was, she had to be as she needed to convince women that they did have a choice and didn’t have to do what was expected of them. In the past I have met women like Leonie and I agree they weren’t always “likeable”, but they helped me to challenge the norm and form my own views on various issues.
I look forward to seeing what Stephanie Butland writes next, to follow up this clearly very personal novel.
The book opens in 1968 with Veronica (Vee) Moon who is a junior photographer on a local paper. Although Vee clearly has skills as a photographer, and is very keen to get on, she is not taken seriously by the male dominated news team. She is sent to photograph flower shows and store openings, rather than anything really significant. Taking matters into her own hands she visits the picket line at Dagenham where the women are on strike for equal pay. This changes her life forever: as she take photos of the strikers, some of which will begin to gain her recognition as a professional photographer, she meets strident feminist Leonie Barrett. Vee is instantly captivated with Leonie who is everything she isn’t. Before long the two have formed a strong and lasting friendship.
Now, fifty years later, Leonie’s niece Erica, is curating a retrospective exhibition of Vee’s extraordinary work, including the photograph that effectively ended her career; the photo of Leonie’s death. As Vee helps Erica prepare for the exhibition, we learn more about what happened to the two friends, and the relevance of that photograph.
I have read Butland’s previous two novels and really enjoyed them. Both of them featured strong independent women, but ultimately, they were love stories. The Woman in the Photograph however, is a much more mature novel, and the love is that between friends, rather than a romantic love. The strength of the novel is the depiction of female friendship. It perfectly illustrates that when a friendship is strong enough it can overcome differences of opinion and actions, and it can even be strengthened by these differences.
The book tells Vee’s life story, effectively alternating between her early life and her later life. I really enjoyed this style rather than a linear depiction, as you were able to see how Vee had matured and how early experiences influenced her thinking and decisions she made later in her life and career. Various narrative methods are used to progress the story: excerpts from Vee’s photography book for women; Leonie’s regular newspaper column; Erica’s notes from the exhibition as well as lists of what else of relevance was happening worldwide at that particular time. These additions help the reader to realise that the feminist movement has come a long way since the 1960s, but as recent well documented events show (the “Me Too” movement, the gender pay gap) there is still a long way to go.
The characters are all realistic and well written. I have read criticism of Leonie; some consider that she was not a sympathetic character and her views were off putting to some readers. We need to remember that Leonie’s reactions and opinions were borne out of the time she was in. Her battle began in the 1960s when feminism was not a household word, and very few men would have considered themselves feminists. That is why she was as strident as she was, she had to be as she needed to convince women that they did have a choice and didn’t have to do what was expected of them. In the past I have met women like Leonie and I agree they weren’t always “likeable”, but they helped me to challenge the norm and form my own views on various issues.
I look forward to seeing what Stephanie Butland writes next, to follow up this clearly very personal novel.
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