This is not a flaw in Bennett’s writing; it is the cruel point. Janey Buckingham is the historical footnote to the boys’ grand narrative. She is the “other” that history—written by men, about men, for men—routinely forgets. Her presence in the play is a temporary exception that proves the rule of her permanent absence. She exists only insofar as she is useful to the male characters’ development. Once Dakin has slept with her and Irwin has moved on, she no longer serves a dramatic purpose.

Crucially, Janey’s brief affair with Dakin is rendered as a transaction. She sleeps with him in the school chapel (a scene dripping with Bennett’s characteristic irony), yet we are given no access to her feelings about this sacrilegious liaison. She is the vessel for Dakin’s sexual awakening and his later confession to Irwin. The boys, for all their recitations of Hardy and Housman, never ask who Janey is. Posner, the most empathetic of the group, is too consumed by his own unrequited love for Dakin to notice her. Scripps, the narrator, observes her but does not know her. To the boys, Janey is a landscape to be conquered, not a person to be understood.

When asked about her writing process, Buckingham replied:

Buckingham credits her family and friends as the primary sources of inspiration for her writing. Her experiences as a mother and wife have provided her with a wealth of material to draw from, and her characters are often reflections of the real-life people she knows and loves. Buckingham's motivation to write comes from a desire to create stories that resonate with readers and provide them with a escape from the stresses of everyday life.