There was a picture of Stan that had first appeared years ago in the staff magazine when he had just won some competition or other: it made him look young and very innocent, with the whole sweet promise of life still stretching out before him. Then there was the two-shot of Beryl and Marleen, with the top button of Marleen’s jacket tantalizingly undone. And finally, there was the close-up of Cliff. In some, the name Mr Clifford Hamson was given. In others, it appeared as Mr D. Fairbanks, Mr Douglas Fairbanks, or even as Mr Douglas Fairbanks, senior. One or two of the papers resorted to quotation marks. Not that it mattered. Because, considering the circumstances in which it had been taken, it was an excellent piece of portrait-work and, no matter what it was entitled, the likeness was plain and unmistakable. The one thing that Beryl did not like was the inset picture of No. 16 Kendal Terrace. The photograph showed a bit of both Nos. 14 and 18, with the Pitts’s house in the middle, ringed round in white; done that way it made it look small and unimpressive, with no hint of all the imaginative modernization that had gone on inside.
What do You think about The Husband's Story (1978)?
