The Unselected Journals of Emma M. Lion: Vol. 2

Beth Brower
54 pages1-hour read
Fiction
Novella
Adult
Published in 2019

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Chapters 37-49Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of death.

Chapter 37 Summary: “June 12th”

In her journal, Emma M. Lion confesses her “sin” of staying up all night reading a stranger’s personal journal. She began reading it to find clues to their identity, hoping to return it personally rather than leave it in the Reed or Rite, feeling that the owner might appreciate it. The journal, dated 1878, is written by a man—a younger man, if Emma is reading the clues correctly—whose beautiful, poetic prose immediately captivates her. His entries include clues she deduces: a back garden with a fountain, a well-married older sister, and philosophical musings on topics like rain. Feeling as if she is falling for the anonymous author, Emma imagines confessing her transgression to her vicar, Young Hawkes. In her fantasy, she admits she has no intention of stopping and will propose marriage if she ever discovers the man’s identity.

Chapter 38 Summary: “June 14th”

Emma writes a brief, distressed entry announcing she has discovered the identity of the journal’s author. She is so appalled by the revelation and her own actions that she covers her mirror to avoid seeing her own reflection, calling herself a “scoundrel of the first order.” (108)

Chapter 39 Summary: “June 15th”

Emma reveals that the journal belongs to the Duke of Islington. She is shocked by this discovery, and the revelation leaves her wondering how she will ever face him to confess what she has done.

Chapter 40 Summary: “June 16th”

In the crack in the garret wall, Emma finds a note from Mr. Pierce, who informs her he is leaving London until June 28 and would like to discuss a “business proposition” upon his return. Intrigued, she agrees to meet with him. The note provides a welcome distraction from her guilt over the duke’s journal, which she admits to having read twice. In a moment of flawed reasoning, she blames the duke for her transgression, arguing that if he had followed the local custom of placing a white feather atop the journal, it never would have “wandered” into her possession.

Chapter 41 Summary: “June 17th”

Waking to a sense of hollow silence, Emma remembers that Mr. Pierce is gone. Later, while attending a service at St. Paul’s Cathedral with Aunt Eugenia and Arabella, the sermon on the commandment “Thou Shalt Not Steal” strikes Emma as a personal condemnation for reading the duke’s journal. Overwhelmed with guilt, she resolves to go to the duke’s residence the following morning to return the journal and confess her crime.

Chapter 42 Summary: “June 18th”

Emma goes to the Duke of Islington’s home, where a butler directs her to wait in the “Rabbit Room.” The room’s decor, featuring opposing paintings of a hound and a rabbit, makes Emma feel like prey. When the duke arrives, he remembers her from their previous encounter. Emma explains how she found the journal and, lacking a name inside, felt compelled to investigate its contents, ultimately confessing she read the entire volume. 


The duke is furious, pointing to the monogram on the cover and accusing her of violating his privacy. They argue, with Emma insisting he should have written his name inside and the duke retorting he would have preferred she burn it. Their tense exchange ends when the duke requests her calling card. Upon reading her name and address, he simply says “Ah,” as if everything now makes sense, before seeing her out.

Chapter 43 Summary: “June 19th”

On the morning of June 19, Emma goes to the top of Primrose Hill and throws her “lucky-unlucky marble” as far away as possible. “Lucky indeed,” the entry concludes tersely.

Chapter 44 Summary: “June 25th”

Emma is caught off guard again when Aunt Eugenia asks about her chaperone; knowing it is scandalous for her to be living with Archibald without one, Emma invented a chaperone, using Agnes as inspiration. Emma quickly invents a lie to distract her aunt, but later, Arabella warns her to be more careful, as another misstep will expose her deceit.

Chapter 45 Summary: “June 26th”

Tybalt has been crying loudly every night, and Emma admits she, too, has missed Mr. Pierce. The cat’s wailing has an unintended benefit: Emma’s guardian, Cousin Archibald, believes he is being haunted by a ghost and has been frequently visiting the vicar, Young Hawkes, for counsel, leaving Emma in peace. Agnes, who has been sworn to secrecy about the cat, tries to comfort Tybalt with treats, but he remains upset by Mr. Pierce’s absence.

Chapter 46 Summary: “June 27th”

The day of the “Conclave of the Janes” arrives (119). With assistance from Arabella, Emma and Mary have arranged for Cousin Archibald and Parian to be away from the house. While in Regent’s Park earlier, Emma and Mary encountered the Duke of Islington. After some teasing banter, Mary impulsively invited him to the conclave. The duke accepted on the condition that Emma seconded the invitation, which she reluctantly did. As the meeting is beginning, Jack Hollingstell—Mary’s roguish associate, whom she pays to pretend to be her cousin so that she can go out unchaperoned arrives uninvited and unannounced.

Chapter 47 Summary: “June 28th”

As the guests assemble, Emma explains to the duke that the Jane Eyres have gathered to devise a plan to retrieve a cherished first-edition copy of Jane Eyre from Fortitude’s tyrannical headmistress, Mrs. Wade. She attempts to introduce the duke to Jack under the false name “Neville Cross,” but Jack reveals he knows the duke’s true identity by producing the duke’s stolen pocket watch from his open palm. 


After the Janes discuss and dismiss several options, Jack proposes a plan: He will pose as the husband of a former student to gain entry to the school, create a distraction, and pick the lock to steal the book. Since Mary is a known Jane, all eyes turn to Emma to play the part of his wife. She initially refuses, but Jack wins everyone over with a convincing performance of a doting, scholarly husband. The Janes unanimously approve the plan. Later that night, Emma sees Mr. Pierce arrive home. Though they exchange a brief wave through the window, she is disappointed when no note appears through the wall.

Chapter 48 Summary: “June 29th”

Emma and Jack Hollingstell travel by train to Fortitude, with Jack maintaining his persona as an eccentric intellectual husband. At the school, he charms the formidable Mrs. Wade with flattery and intellectual banter before knocking over a framed picture, causing momentary chaos. Emma does not witness the exact moment of theft and later admits she is “not altogether sure” how the rescue came about (135), but Jack emerges from the school with three volumes of Jane Eyre concealed on his person. On their way out, he reveals to a horrified Emma that he put a mild hallucinogen in the headmistress’s teapot, ensuring she will dismiss their visit as a strange dream. 


On the return journey, Jack proposes a deal: In exchange for an unspecified future favor from Emma, he will guarantee Mary is kept safe from his dangerous business dealings. Emma makes a counteroffer, promising two favors if his protection extends to all her friends and family, including the Duke of Islington. After she subtly threatens him with her aunt’s connections to Scotland Yard, Jack agrees, and they shake on the bargain.

Chapter 49 Summary: “June 30th”

The next day, Jack sends a box of pastries, and Emma wraps up the recovered Jane Eyre, kisses it, and sends it to Mary. The Duke of Islington pays a brief visit to ensure Emma “survived” her mission, and they share a tense, witty exchange. 


Later, Emma invites the newly returned Mr. Pierce for tea in the garden. Their conversation is comfortable and easy, feeling like a reunion between old friends. When Emma asks about his business proposal, Mr. Pierce asks to rent her unused salon to establish a portrait photography studio. Seeing the financial benefit, Emma agrees. They inspect the room, and he suggests adding a new door connecting the salon to his side of the house for his clients’ convenience. He promises to pay for the renovations and to provide comparable rental rates for her to set a price. They shake hands, finalizing Emma’s second major bargain in two days.

Chapters 37-49 Analysis

Emma’s transgression of reading the Duke of Islington’s journal continues the novella’s exploration of the central tension between privacy and intimacy, challenging the rigid social boundaries of her world. Her initial shame at invading another’s thoughts gives way to a deep connection with the anonymous author, whose prose is “an architecture all its own, reminding me of Miss March’s Italian paintings” (105-6). This one-sided intimacy, built on his private reflections on everything from his sister to rain like “glass beads out of tired clouds” subverts the formal, public nature of aristocratic life (106). It allows Emma access to the duke’s inner self, deconstructing her stereotype of a “debauched” nobleman and revealing a sensitive, complex man. Their eventual confrontation in the “Rabbit Room”—a space explicitly designed to intimidate with its opposing portraits of a hound and a rabbit—physically manifests the power dynamics at play. The duke, as the hound, represents the predatory power of his class, yet Emma, the rabbit, holds the secret knowledge of his vulnerabilities. Her refusal to be cowed, culminating in their witty battle of words, levels the field. His final comment that while he has had many rabbits in that room, “[she has] not been one of them” (143), is a grudging admission of her unexpected resilience.


Throughout these chapters, the characters continue to deploy deception and performance as necessary tools for survival, illustrating the theme of The Exhaustion of Maintaining Social Appearances. Emma’s lie to Aunt Eugenia about Agnes as chaperone is a small, strategic performance to protect her domestic autonomy, a lie that echoes her friend Mary’s hiring of Jack Hollingstell to play the role of her cousin so that she can go out in public unfettered. These deceptions intersect with the larger deception that the Janes undertake to steal their copy of Jane Eyre back, an audacious plan that underscores the importance of Jane as an independent role model. Jack’s transformation from a roguish “reptile” into a doting, scholarly husband is a piece of theater, so complete that Emma comments, “[T]he snake was gone, only a sweet, somewhat dishevelled gentleman” (131). Emma is a reluctant co-star in this play, forced to inhabit the role of a “biddable, sweet wife” to achieve her goal (137). This extended performance, complete with terms of endearment like “pudding” and “sugar plum fairy,” highlights the calculated artifice required to navigate a world governed by strict social codes. While the duke maintains his aristocratic exterior through rigid self-control, Jack demonstrates a more fluid, chameleon-like ability to manipulate appearances, a skill Emma adopts, however uncomfortably, to advance her own agenda.


The subplot involving the Jane Eyres’ conclave is a direct exploration of female solidarity as a tool in the Women’s Struggle for Autonomy. The gathering of 13 women to reclaim their shared book is an act of collective resistance against a patriarchal figurehead, Mrs. Wade, who holds their history captive. Here, the three-volume Jane Eyre becomes an emblem of their shared intellectual and emotional inheritance. It is more than a novel; it is a sacred text and a historical record, containing “an endless list of names of girls who made it out” (127), testifying to their collective endurance. The mission is not just about recovering a beloved object but about reclaiming their history and affirming their bond. The women’s pragmatic decision to enlist the morally ambiguous Jack to retrieve the volumes highlights the unconventional, and even illicit, means they must employ to achieve their goals. By voting unanimously to proceed with Jack’s scandalous plan, they demonstrate a collective willingness to operate outside the bounds of propriety to secure a victory for their order.


Emma’s character development accelerates as she makes two consequential bargains, signaling her continuing progress in taking control of her life and becoming the agent of her own destiny. This shift is heralded by her decisive act of throwing away the “lucky-unlucky marble,” a talisman of her past grief and a symbol of her reliance on fate. Casting it off is a deliberate embrace of self-determination. The two agreements that follow represent the twin strategies she now employs. Her Faustian pact with Jack Hollingstell—trading future favors for the protection of her friends—is a clandestine negotiation conducted in the liminal space of a train carriage, showing her willingness to engage in morally complex arrangements to secure the safety of her chosen family. In contrast, her business contract with Mr. Pierce is a respectable, public agreement that leverages her property for financial stability. These back-to-back deals, one operating in the shadows and the other in the open, demonstrate Emma’s growing strategic acumen. She is actively constructing her own network of alliances and securing her future through a combination of shrewd negotiation and calculated risk.


Concurrent with these dramatic events, the quiet, evolving relationship between Emma and Mr. Pierce offers a model of partnership based on mutual respect rather than social maneuvering. The “hollow space” Emma feels during his absence reveals the depth of their connection, one nurtured through their unconventional living situation and the opportunities for intimacy that it affords. Their easy, meandering conversation over tea in the garden feels like a reunion between old friends, a contrast to the high-stakes verbal sparring with the duke and the performative banter with Jack. His business proposal to rent her salon for a photography studio is the logical extension of this established trust, transforming their unconventional friendship into a professional partnership that grants Emma significant financial agency. The plan to install a new door between her salon and his residence physically bridges their separate spheres and cements an alliance that merges the personal and professional, all while circumventing the rigid strictures of London high society.

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