The Unselected Journals of Emma M. Lion: Vol. 4

Beth Brower
52 pages1-hour read
Fiction
Novel
Adult
Published in 2021

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Chapters 31-46Chapter Summaries & Analyses

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

Chapter 31 Summary: “October 1st”

Emma and Roland share a train back to London. Roland tells her he will be in Suffolk for most of the autumn for shooting parties. When Emma arrives at Lapis Lazuli House, she finds it has been thoroughly cleaned by Agnes and a small bouquet of autumn flowers has been left on her desk. On the sideboard, she discovers a pile of 23 letters for Niall and concedes that his request for a mail basket was justified after all. She ends the entry by expressing her contentment at being home.

Chapter 32 Summary: “October 2nd”

In a written exchange, Pierce asks Emma about her trip to the country. She describes it as “very, very dangerous” and compares Charles to a “fowl” (94). Emma recounts that when he tried to hold her hand during a church service, she stomped on his foot, but this failed to dissuade him, leaving her no recourse but to flee. Pierce teases her for being a “proper transcendentalist,” a term Emma does not understand, and tells her to continue reading Emerson.

Chapter 33 Summary: “October 3rd”

Roland visits Emma to give her a blue leather-bound copy of Jane Eyre with her name inscribed on the cover. To his disappointment, Emma admits she already owns a copy. Frustrated at having failed for a second time to give her a book she doesn’t already have, Roland makes a sarcastic comment about her needing a spare copy of the novel for her future children. In response, Emma balls up the wrapping paper and throws it at him. Later, she reflects on the idea of marrying Roland solely to gain access to a library, debating whether his good looks would make such a union more or less ethical.

Chapter 34 Summary: “October 4th”

A new leak appears in the roof of the west garret, and Emma instructs Parian to fix it. She reminds him of his past ingenuity in building a still on the property, suggesting he apply the same skill to the repair.

Chapter 35 Summary: “October 5th”

Emma makes a list of possible occupations for herself. Her ideas range from practical, such as “Personal Secretary,” to absurd, like “Leading an Insurrection” and “Dancer at The Drunken Duck” (98). She also includes a marriage to Roland as a possibility, noting the appeal of the books he would buy her. She jokes that her true strength is “Standing on Corner Making Clever Comments to Passersby” and then concludes that the most realistic first step is to ask her friend Mary about her work (99).

Chapter 36 Summary: “October 6th”

Emma visits her friend, Mary, to learn about her typewriter, a Sholes and Glidden model. Mary explains that the machine was an inheritance and allows her to supplement her income with transcription work. Emma finds typing to be very difficult and recognizes that the machine is too expensive for her to acquire. The two friends discuss the large volume of mail Pierce receives, concluding that he must have many friends, which seems inconsistent with Emma’s image of him as a man with a troubled past.

Chapter 37 Summary: “October 7th”

Emma encounters the Duke of Islington as she enters the Reed and Rite, and they engage in a brief conversation regarding the proper way she should address him. After sparring over formalities and their patronage of the shop, Islington mentions that he is unoccupied the following afternoon. Acting on this social cue, Emma invites him for tea.

Chapter 38 Summary: “October 8th”

On Sunday, Emma realizes that Agnes has the day off, leaving her to prepare tea for Islington herself. She attempts to bake a cake three times, each attempt failing. Just as she is about to give up, Agnes sweeps into the kitchen and takes over, sending Emma upstairs to get ready. Islington arrives, and soon after, Agnes serves an impressive tea. Pierce joins them, and he and Islington greet each other as acquaintances. They explain that they recently attended the same dinner, where they were delayed by a pair of sisters. The three share a relaxed and teasing conversation, during which Pierce mentions he has developed the photographs he took of Emma and Tybalt.

Chapter 39 Summary: “October 9th”

While observing couples on Primrose Hill, Emma wonders how many people have married the wrong partners. Later, at home, she finds a letter for “Agnes Dowd,” the fictional chaperone she invented to satisfy her aunt. In the letter, Lady Eugenia proposes opening a correspondence to guide Emma toward a respectable marriage. She also expresses her approval of the chaperone’s supposed warts.

Chapter 40 Summary: “October 10th”

Emma finds Agnes making chicken broth for a sick neighbor, Mrs. Spires. Agnes explains that her mother taught her that a great lady’s servants must perform her acts of Christian service for her. Later, Emma sends a note to Mary proposing a game of cards for the next evening.

Chapter 41 Summary: “October 11th”

Pierce informs Emma that they are to have dinner at Islington’s house that evening. Emma rearranges her tentative plans with Mary and walks with Pierce to Islington’s home. Upon their arrival, Islington’s surprised reaction leads Emma to fear that she was not on the original guest list and that Pierce had simply brought her along. Islington then reveals it was he who told Pierce to invite her, and Pierce confesses he volunteered to relay the invitation rather than Islington sending a formal message. The only other guest is Young Hawkes. The informal dinner is a success, and the four of them form an easy, comfortable group. Islington begins calling her “Lion,” which leads Emma to comment that it’s considered inappropriate for her to be alone with three unmarried men. The Duke reassures her that his aunt, the Countess of Alwick, is acting as a chaperone of sorts by being present in the house, though she has remained in the library to write her novel about women pirates and brigands who rescue desperate men.

Chapter 42 Summary: “October 12th”

To maintain her ruse with her aunt, Emma writes a letter in the persona of her fictional chaperone, Agnes Dowd. Because Lady Eugenia would recognize Emma’s handwriting, she Saffronia transcribe it for her. In the letter, “Agnes” assures Lady Eugenia of her dedication to managing Emma’s behavior, advises that Emma isn’t ready for marriage yet, and confirms the existence of her facial warts, clarifying they are more like moles.

Chapter 43 Summary: “October 13th”

Emma provides an update on her Emerson studies, noting she’s completed three essays, “Friendship,” “Experience,” and “Circles.” After listing a key quote from each piece, she expresses deep admiration for Emerson, concluding that anyone who could describe the world with the phrase, “All things swim and glitter” (126), is a rare and remarkable individual.

Chapter 44 Summary: “October 14th”

At church, the Reprobates Ten, a group of young men known for their disruptive behavior, intercepted Emma . The group insists she sit with them in the back row and refer to her as Eleanor of Aquitaine. They promise to be on their “second-best Sunday behaviour” and collectively blow a kiss toward the vicar as he begins the service (127).

Chapter 45 Summary: “October 15th”

Emma contemplates the profitability of piracy.

Chapter 46 Summary: “October 16th”

Through their shared wall, Emma asks Pierce about the legal and moral consequences of piracy. He replies that it is illegal and that its morality is subjective, dryly noting that she first needs a ship. Emma muses that she might be hanged if she pursued this profession and requests that Pierce bring Hawkes for her last rites but not Islington. Pierce and Emma continue the morbidly humorous exchange, with Emma assuring Pierce he will eventually recover from the grief of her death.

Chapters 31-46 Analysis

The informal dinner party at the Duke of Islington’s home is a key moment for the theme of Friendship as an Emotional Anchor, cementing the unconventional social unit that provides Emma with a deep sense of belonging. The gathering of a duke, a war photographer, a vicar, and an orphaned young woman intentionally defies the rigid class and gender distinctions of Victorian London. Emma’s reflection that “the four of [them] created a room not having previously been in existence before” uses metaphorical language to articulates the significance of this unique group’s bond (119). Islington’s decision to call her “Lion” serves as an informal christening, accepting her into their circle on her own terms, not as a potential wife or a social subordinate. The countercultural gathering is fittingly sanctioned by the off-stage presence of Islington’s aunt, a novelist who writes about female brigands. This figure of subversive femininity provides a veneer of propriety that allows the group to bend social rules without breaking them. This scene illustrates the theme of Friendship as an Emotional Anchor, establishing a private, supportive space where kindred spirits are found across social divisions.


Against the backdrop of this emerging support system, Emma’s practical struggle for financial self-sufficiency intensifies, revealing the narrow path available to women seeking autonomy. Her handwritten list of “POSSIBLE AVENUES OF EMPLOYMENT” is a humorous catalog that juxtaposes the absurd (“Leading an Insurrection”) with the grimly pragmatic (“Personal Secretary”) and the desperate (“Marry Roland Sutherland”) (98). This inventory demonstrates the central theme of Women’s Struggle for Independence, as Emma grapples with how to secure her future without surrendering her agency. Her status as a femme sole protects her ownership of Lapis Lazuli House, yet society offers her few viable means to support herself and her home. Her investigation into Mary’s expensive typewriter and her whimsical contemplation of piracy underscore the immense barriers to female economic independence. Marriage to Roland is considered not as a romantic prospect but as a “mercenary” transaction for a library, a clear indication of the intellectual freedom she craves. Her ultimate rejection of the idea, because they “both deserve better” affirms her commitment to authenticity over convenience (99), even at great personal cost. 


Emma’s fictional chaperone is a key example of The Performance of Social Roles. Emma constructs a character perfectly calibrated to satisfy Lady Eugenia’s expectations, a stern, mole-covered woman who can be trusted to enforce rigid social norms. The letter she composes in Agnes’s voice is a calculated performance designed to project an image of dutiful compliance while protecting her unconventional life. This complex ruse is a form of stagecraft, with Emma acting as writer, director, and casting agent. The contrast between the fictional Agnes Dowd, a tool of social control, and the real Agnes, the cook who performs quiet acts of Christian service for a sick neighbor, emphasizes the chasm between the roles society demands and the genuine character of individuals. Emma’s manipulation of these social codes reveals her sharp understanding of their power and her ability to wield performance as a tool for survival and independence.


The diary format juxtaposes moments of high social comedy and philosophical depth with the mundane realities of Emma’s domestic life. Within a few pages, the narrative shifts from the high-stakes tension of preparing tea for a duke to the practical annoyance of a leaky roof in the garret. This rapid oscillation between the grand and the everyday creates a rich, realistic portrait of her existence, where managing Parian is as immediate a problem as placating Aunt Eugenia. The epistolary structure also allows for abrupt tonal shifts that mirror her complex inner world: The witty repartee with Islington gives way to somber reflections on mismatched couples on Primrose Hill, which is then followed by the absurdly brief entry contemplating the financial viability of piracy. This fragmentation prevents the journal from becoming a simple chronicle of either social ambition or domestic struggle; instead, the diary becomes a space where intellectual curiosity, social strategy, and daily frustrations coexist, reflecting the complex reality of a woman forging her own path.


Emma’s external battles for independence are sustained by a rich inner life, shaped significantly by her engagement with Transcendentalist philosophy. The motif of Emerson’s essays functions as an intellectual and philosophical anchor amidst Women’s Struggle for Independence, providing a framework for her nonconformist worldview. When Pierce calls her a “proper transcendentalist,” he recognizes the self-reliance that underpins her actions, particularly her flight from an unwanted advance to the solace of a field. Her diary entries are an ongoing dialogue with Emerson’s ideas on friendship, experience, and renewal. Her admiration for a writer who can say “[a]ll things swim and glitter” reveals her own capacity to find depth and wonder in a world that often seems constricting (126). The specific quotes she records, such as, “We must be our own before we can be another’s” (126), directly inform her resistance to a marriage of convenience and her broader quest for self-possession. This intellectual development runs parallel to her social maneuvering, demonstrating that her resilience is forged as much in quiet reading and reflection as it is in witty repartee or strategic deception.

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