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

Mr. Pierce, known for much of the novella as “The Tenant,” is a professional war photographer who shows a world markedly different from the cloistered society of the London Season. His character is marked by a quiet intensity, a directness that bypasses social formality, and a weariness born from his experience capturing “loss and waste” (40). As a man who has lived in America and documented global conflicts, he operates outside the rigid British class structure, offering Emma a relationship free from the performative constraints imposed by her aunt and London society. His introduction into Emma’s life through the crack in the garret wall is symbolic; their unchaperoned communication through notes creates a private, honest space that defies convention and develops intimacy. He is perceptive and empathetic, quickly recognizing Emma’s grief and offering a photograph of Afghanistan as a shared acknowledgment of her loss, connecting them through a mutual understanding of a world beyond London’s ballrooms.

Mr. Pierce’s presence provides Emma with a form of companionship that is both grounding and subtly challenging. Described by Emma as what “a storm would look like if it took human form” (29), he possesses a serious, almost Byronic demeanor that contrasts with the polished charm of men like Roland Sutherland and the Duke of Islington. His business proposal to rent Emma’s unused salon as a photography studio is a key moment in which he treats her as a property owner and business partner, not as a “young lady” to be managed, setting himself apart from everyone else in Emma’s life. This act directly supports the theme of women’s struggle for autonomy by providing Emma with an independent source of income and affirming her authority over her own house. Their friendship is based on a mutual respect for each other’s private struggles, whether it’s his difficulty with sleep or her gothic dreams. He is a round, dynamic character whose practicality and emotional depth offer Emma an ally and potential future partner, whether personal or professional.

Roland Sutherland is a wealthy and charming aristocrat who is a foil to Mr. Pierce and a potential, more conventional suitor for Emma. Initially remembered by Emma as her childhood “nemesis” (29), he has evolved from a cruel prankster into a handsome, observant, and kind man. He fully inhabits the world of the London elite, yet he shows an awareness of its superficiality that sets him apart. Unlike others in his circle, he values Emma’s directness and intelligence, seeking her company precisely because she does not treat him as a prize to be won. He complains that others see only his “form […] money and […] position,” but that Emma looks “directly at [him]” (99), indicating a desire for a genuine connection that transcends social status. His character offers a comfortable and known entity to Emma, and his interest highlights that with him, Emma would have a life of security and social acceptance within the system she already understands.

Roland’s relationship with Emma is characterized by witty banter and a foundation of shared history, which allows them a level of casual intimacy that would otherwise be scandalous. He engages her in wagers for books and enlists her help in his own social maneuvers, treating her as a co-conspirator and an equal. This dynamic contrasts the hierarchical and transactional relationships that dominate their social sphere. While Emma describes him as being “made of the sun” and moving through society with effortless grace (30), his character is not flat; he reveals a vulnerability and a desire to be truly seen that complicate his golden-boy persona. He offers Emma a form of partnership that is both affectionate and pragmatic, representing a tempting path of integration into the very world she often scorns.

The Duke of Islington is a formidable and enigmatic figure who represents the apex of the aristocracy. He is impeccably mannered, intellectually sharp, and intensely private, embodying a world of immense power, wealth, and unassailable social standing. His interactions with Emma are characterized by a cool, controlled battle of wits. He is the only character who consistently challenges Emma on an intellectual level, meeting her sharp tongue with his own dry, aristocratic humor. Emma’s discovery of his personal journal, which reveals a sensitive and poetic inner life, creates a compelling contrast with his guarded public demeanor. He is an intellectual equal and social superior who forces Emma to confront the highest echelons of the society she navigates.

The duke’s power is subtly illustrated through the design of his “Rabbit Room,” a space for business where the decor—a painting of a hound opposite a painting of a rabbit—establishes a clear power dynamic. By casting Emma as the rabbit, he acknowledges her vulnerability within his world but also engages with her as a worthy opponent. He never underestimates her, and their verbal sparring suggests a grudging respect. His world is the most inaccessible and rigid of the social spheres Emma encounters; unlike Roland, who operates within society, or Mr. Pierce, who stands outside it, the duke stands above it, held to the highest standards and holding himself apart from others in order to sustain the performance. He is a round yet static character whose complexity lies in the gap between his cold, disciplined exterior and the rich interior life that Emma, through her transgression of reading his journal, is uniquely positioned to understand.

Lady Eugenia Spencer is Emma’s formidable aunt, acting as both a mentor in navigating society and an antagonist who embodies the oppressive nature of Victorian high society. She is a pragmatic and unsentimental strategist who views the London Season as a campaign and marriage as its ultimate prize. Her relentless coaching sessions, in which she orders Emma to perform as a “bug on a window” or master the specific smiles required for different aristocrats (46), are a primary illustration of the exhaustion of maintaining social appearances. Aunt Eugenia’s motivations, even when appearing antagonistic, are born of the goal of successfully navigating a rigid, hierarchical system where a woman’s security is determined entirely by a strategic marriage. Although she often seems cruel and controlling, she provides Emma with the necessary tools—dresses, invitations, and social intelligence—to navigate this world. She is a flat, static character, but her role is complex, simultaneously acting as a gatekeeper of patriarchal norms and the provider of the means to exploit them.

Arabella Spencer, Emma’s cousin, is a foil to Emma in her different approach to the constraints placed upon women. Described by Emma as a “Goddess Divine,” Arabella is beautiful, pragmatic, and seemingly content to play the role her mother has orchestrated for her. She views her mother’s matchmaking as a practical service that will secure her a comfortable and powerful position in society while taking the burden of achieving it away from Arabella. Unlike Emma, who seeks love and autonomy, Arabella claims her heart has “never bothered with anything but to beat a little faster at a beautiful fabric” (21). She accepts the transactional nature of marriage in her class and performs her part. Her friendship with Emma provides an important space for honest conversation, where two very different strategies for survival are laid bare; although they both share a desire for independence, their means of achieving it are very different. Arabella seeks a husband who will mainly leave her alone, avoiding the entanglements of love and romance while securing the freedoms afforded a married woman. Arabella is a round character who, despite her seemingly placid acceptance of her fate, possesses a keen intelligence and a clear-eyed understanding of the system she operates within.

Cousin Archibald Flat is a primary antagonist whose presence in Lapis Lazuli House is a constant source of frustration and conflict for Emma. He is a flat character, a caricature of a vain, self-pitying, and entitled man who abuses his unearned position of authority. His preoccupations with his minor scar, his silk morning robes, and the perceived injustices done to him are both comedic and infuriating. He represents the illogical and unfair patriarchal structures that Emma must contend with daily. His attempts to control the household and his slandering of Emma to the local vicar are petty abuses of power. Emma’s successful negotiation over the servants’ wages is a significant victory against his arbitrary rule, demonstrating her growing confidence in asserting her legal and moral authority.

Jack Hollingstell is a trickster archetype who operates outside the moral and social codes of Victorian England. A master of disguise and deception, he is a man of “dubious business” whose skills include lock-picking and pharmacology. His elaborate and successful heist to retrieve the stolen volumes of Jane Eyre (1847) from Fortitude school showcases his formidable talents and his morally ambiguous methods. He offers Emma a path to achieving her goals that is swift and effective but requires a Faustian bargain: Her assistance in exchange for his protection. By making a deal for two future favors, Emma is drawn into his dangerous and unpredictable world, a stark contrast to the highly regulated social spheres of Roland and the duke. Jack illustrates a radical form of agency, one achieved through criminality and cunning, showing Emma another way to operate on the fringes of their rigid social structure.

Mary Bairrage, a “Great Chum” from Emma’s school days, is an important ally and organizer. As the driving force behind the conclave of the Janes, she represents the power of female solidarity and organized rebellion against unjust authority. Her friendship provides Emma with unwavering support outside the high-stakes world of the aristocracy, grounding Emma in a bond of loyalty forged well before the pressures of the London Season. Mary’s willingness to mobilize her peers in coordinated action demonstrates that resistance to entrenched injustice need not be solitary, and her steady presence offers Emma both practical assistance and emotional reinforcement in moments of crisis. In addition, Mary models another way a woman can successfully operate in their society: She lives in a boarding house independently and supports herself by working at the telephone company. She also leads the way when showing Emma how to circumvent the rules regarding chaperonage, as she hires Jack to pose as her cousin, allowing her to move more freely in public and visit places she wouldn’t be allowed access alone.

Young Hawkes, St. Crispian’s “unlikely vicar,” subverts the stereotype of a rigid clergyman. He is discreet, humorous, and genuinely supportive of Emma, offering an unconventional source of institutional and moral backing. His willingness to see past Archibald’s slander and treat Emma with fairness and warmth marks him as a rare figure of authority who is guided by discernment rather than convention. In a social landscape where reputation can be destroyed by rumor, his quiet advocacy provides Emma with a measure of protection and a reminder that not all pillars of the establishment are hostile to her interests.