Margaret Brownley (44 page)

Women had an advantage over male photographers, who were often confounded by female dress. This explains why one photographer advertised in 1861 for an assistant, “Who Understands the Hairdressing Business.”

Early cameras required long exposure times, which demanded the use of head vises. This accounts in part for our ancestors’ cheerless faces (and here you thought they were just plain grouchy). Another reason for the lack of smiles was that a tightly controlled mouth was considered a thing of beauty. In her essay “Why We Say ‘Cheese’: Producing the Smile in Snapshot Photography,” Christina Kotchemidova wrote that photography was once the domain of the rich. “Smiles were worn only by peasants, children, and drunks.” She then goes on to explain that fast shutter speed, dental care, and cultural changes began a process of “mouth liberalization.”

Did photography have a bearing on the suffragette movement? Indeed, it did, but it appeared to be more of a detriment than a help. The photographs of militant suffragettes or women dressed in bloomers did more harm than good.

If you think America was tough on suffragettes, think again. The women’s rights movement was considered the biggest threat to the British Empire. According to the National Archives, the votes-for-women movement became the first “terrorist” organization subjected to secret camera surveillance in the world.

Photography has come a long way since those early daguerreotype days. One can only imagine what the brave souls of yesteryear would think of today’s “aim and click” cameras. Nowadays you can’t even drive down the street without having your picture taken.

In closing, I leave you with sage advice from Miss Gertrude Hasslebrink, which is just as relevant today as it was in the nineteenth century: “Never leave the house unless you’re ready for your close-up—and, as your mother would say, clean undergarments wouldn’t hurt, either.”

Blessings,
Margaret

Reading Group Guide

1. Lucy believed the camera could see things often missed by the human eye. This proved true when she discovered something surprising about herself. Have you ever looked at a photograph and discovered something new about yourself or others?

2. Having your photograph taken in the nineteenth and early twentieth centuries was serious business. A person might have only one photograph taken in a lifetime. How has the ease of taking pictures today changed your view of picture taking? Do you think we place more or less value on photographs today? Was there ever a time that you felt a camera was intrusive?

3. As a child David was taught that God was harsh and unforgiving. How did your childhood view of God influence your faith? What misconceptions did you have to overcome to grow in your faith?

4. Lucy’s plan to be a newspaper photographer met with one failure after another. Still, she persisted until, at last, she discovered God’s true plan for her. What are some of the ways that God has revealed his plan for your life?

5. Pastor Wells said that prejudice was a quick way to form an opinion without getting to know someone. Have you ever changed your mind about someone after forming an initial opinion? Was the way you came to regard the person more favorable or less so?

6. Ma believed that every pot has a lid, which is a way of saying that there is a right man for every woman. Do you agree or disagree? Why or why not?

7. Gaining acceptance is a major theme of the book. David, Lucy, Timber Joe, Barrel, Lee Wong, and even Old Man Appleby (by his own admission) faced some sort of discrimination. John Saltmarsh wrote: “The more we love any that are not as we are, the less we love as men and the more as God.” In what ways can we apply this to everyday life?

8. One of the themes of the book is abandonment. David was left on the mission steps as an infant. Lucy felt that her father deserted her emotionally. Describe a time that you felt either physically or emotionally abandoned. In what ways did it affect you?

9. Lucy was deeply touched when David recognized her photographs as art. Has there ever been a time when someone failed to appreciate, acknowledge, or validate your achievements? How did you overcome this?

10. As a child David assumed the boys meant to do him harm. It wasn’t until years later that he learned the truth. Think of a hurtful incident from your childhood. Do you now have a different understanding as to how or why it happened, or does your original impression remain the same?

11. Lucy chased the white stallion much as David chased the box taken from him as a child. Both horse and box remained elusive. Has there ever been a time when something you wanted seemed so close but yet so far away? What do you think God is trying to teach us at such times?

12. After a long and tedious battle, the Nineteenth Amendment was finally ratified in 1920, giving women the right to vote on a national level (almost fifty years after women were able to vote in Wyoming). Why do you think it took so long? Do you think groups like the Suffra-Quilters helped or hindered the cause? How did war slow the process?

13. In what ways was guilt manifested in the men responsible for putting David on that boat? Has there ever been a time when you felt guilty for something you did or didn’t do?

14. Neither Lucy nor Caleb shared their father’s hopes and dreams for them. In what ways can a parent’s aspirations for a child help or hinder?

15. How much influence do you think David’s plight had in Lucy’s decision to work for women’s rights?

Acknowledgments

H
ave you ever noticed that when you glance through your photographs that some of the same people keep popping up? These are the friends and family members closest to the heart. I guess it only stands to reason that people closest to this writer’s heart keep showing up on my acknowledgement—or what I prefer to call my gratitude—pages.

So again I send heart-felt thanks to you, my readers, for the cards, letters, emails, and Facebook messages. Corresponding with you is truly the most pleasurable part of being a writer.

It takes an astounding number of talented and gifted people to produce a book. On the top of that list is my amazing agent, Natasha Kern, the best friend, mentor, supporter, counselor and teacher that a writer could have.

Next is the fabulous Thomas Nelson team starting with editor-supreme Natalie Hanemann. I could go on forever listing the names of those who helped turn my story into a book but special thanks go to Katie, Ashley, Andrea, Ami, Eric, Heather, Jennifer, Jeane, Allen and the fantastic art department and sales team.

No gratitude page is complete without mentioning my family, especially my husband George, who has the unenviable task of keeping me on track. As always I’m grateful to God for leading me down this particular path.

My best wishes to all and may your own gratitude pages be filled with family, friends and countless blessings. Until next time . . .

Margaret
Have a little faith!