semper imperterritus

• hyperfixating on Emma M. Lion • she/her • there will be swearing • & spoilers 💋

[on-whereabouts-lane]

Fan blog for a literature nerd's hyperfixation of The Unselected Journals of Emma M. Lion by Beth Brower.

I am 18+ so there will be 18+ themes and swearing. Always expect swearing.

pro-audiobooks + pro-feminism + pro-cats

EML fics on ao3:

bare-stript heart

The Storm Arrives At Stonecrop

[fathermulcahyofficial]

Emma M Lion Vol 3 got me like

[an-admiring-bog]

rereading the mysterious benedict society (for my health) and absolutely cackling

[on-whereabouts-lane]

[ID: screencap of text: Constance, in the meantime, was looking disgusted. "This is a terrible spyglass, Kate. It makes everything look far away." Kate turned the spyglass around and handed it back to her. End ID]

The Mysterious Benedict Society is a series I recommend when people have finished with Emma Lion and are looking for more "found family with whimsy I want to live in" books.

[on-whereabouts-lane]

narrator: but he was very much in danger

[bebx]

[jadedbug]

[why-i-didnt-text-you-back]

Emma M. Lion

Lapis Lazuli House

Whereabouts Lane

St. Crispian’s, London

[shakeymcshakespeare]

Emma Lion: Pierce! Please stop being so...TALL.

Pierce: I'm on a ladder fixing the --

Emma: -- You know very well that's not what I mean.

Pierce: ....Am I casting charm again?

Emma: And with your sleeves rolled up!

[on-whereabouts-lane]

Niall Pierce and the Byronic Hero

(Spoilers ahead)

When Emma uses Mr. Rochester from Jane Eyre in her descriptions of Niall Pierce, she establishes him as a Byronic Hero archetype. In fan discourse, the toxic behaviour of Edward Rochester often gets overlaid on Pierce, creating equivalent perceptions of the characters, treating their similarities as not a Venn diagram, but a circle. However, the differences between the two men matter significantly as Brower develops Pierce to subvert the trope of the Byronic hero.

Let’s set aside 21st century squeamishness on Jane Eyre and remember Emma herself is fond of Rochester. She expresses shock and "appall" at the idea of pairing Jane with St. John instead of Rochester (Jun 28 vol 2), and reminds us of her fondness for Rochester generally (Nov 17 vol 5). This underscores that the Rochester allusions are meant favourably. Furthermore, when Pierce himself is a bit put-off by the Rochester comparison, Emma explains she sees the similarities not in his behaviour but in his enigma:

"Monster? No. Certainly not. Mysterious person with a past? Very much yes. It cannot be denied." (Jul 4 vol 3)

Evidently, Emma sets up the Rochester comparisons not as indicative of toxic behaviours but rather of Pierce's general atmosphere of mystery.

The Rochester and Byron comparisons drop off significantly after the third volume. Emma's Rochester comparison of July 4 is the last until Nov 17 (vol 5). Emma and Pierce's first real interaction is May 19, and within 2 months, Emma has come to know Pierce well enough to abandon her first Rochester-y impressions. As their friendship develops, the Rochester comparisons decrease drastically because Pierce's actual character subverts those initial Byronic impressions.

One feature of the Byronic hero is how he is notably set apart from other people. He feels different than others and that internal difference externalises in social dynamics. He is isolated and has few, if any, close friends. Unlike Rochester in his lonely estate on the moors, Pierce is set down in the heart of whimsical St. Crispian's. He has friendships of long-standing from before his arrival, namely Ben Chambers, Nicholas Stone, and Jonathan Revel. Despite the fact that a Byronic hero is expected to be "difficult to like," Pierce is well-liked and respected by his artistic peers (Aug 31 Vol 3, Dec 7 vol 5, May 9 vol 8). He is frequently invited to socialise at dinners, parties, or clubs. When Emma has a chance to witness him at these gatherings, she does not see him brooding in a corner; rather, Pierce is right in the mix. Readers would be hard-pressed to call someone with such a rich social life an outsider. Our "Rochester" challenges the idea of a broody, isolated figure by being well-liked, attending parties, and engaging socially.

A fundamental definition of the Byronic hero, provided by critic Lord Macaulay, is that of "a man proud, moody, cynical, with defiance on his brow, and misery in his heart, a scorner of his kind, implacable in revenge, yet capable of deep and strong affection."  Let's evaluate. Proud? Pierce laughs at Aunt Eugenia's insulting ableism (May 8 vol 7) and contributes without fanfare to the kitchen bills (Nov 27 vol 5).  Pierce readily sacrifices his pride when he makes a public scene falling on his bad leg to allow Emma to guide a grieving Victoria out of the Reed & Rite (May 16 vol 7). "Proud" is not a term to describe the man who "seemed to be apologising for his own existence" (May 19 vol 2). Moody? What temper he expresses is always appropriately directed to the source of injustice —Archibald, his stepfather, imperialistic leaders— and on the whole, Islington affirms Pierce exhibits "admirable stoicism when it comes to temper" (Jun 19 vol 8). A scorner of his kind? Pierce scorns leaders who sacrifice people's lives over grandiose ideals of power (Aug 16 vol 4, Feb 7 vol 6), but not the ordinary people who suffer the consequences of it. Part of his mission as a war photographer is to bring awareness to its gruesome realities in order to end the romanticisation of war (May 19 vol 2, Feb 7 vol 6). Such deeply compassionate motivation reveals a character who values human dignity, not disdains it. Rather than scorning mankind, Niall Pierce wants to save it by preventing violence and suffering. 

Moreover, Pierce is rather considerate of other people. He remembers Agnes' home village and gifts her a photo of Fishwick (Dec 25 vol 5); he remembers Emma's mother's birthday (May 19 vol 8); he sends condolences to a grieving Victoria (Apr 2 & 27 vol 7); he cares for and supports Ben Chambers (Mar 1 vol 7); he insists Hawkes take food and drink after the May Day exertion (May 2 vol 8); and he encourages a young, impressionable soldier to write him (Oct 25 vol 4). These are hardly the actions of one who derides his fellow man; these are the actions of a man sensitive to and respectful of others' needs.

Implacable in revenge? Pierce has the opportunity to exact revenge on a man who abused him to the brink of death and drove him from his home as a child — and Pierce doesn't do it. He shouts and lays his trauma at the feet of that villain, but he takes no revenge. When Pierce's stepfather had physical power over a small, defenseless person, he wielded that power to violent, devastating effect. In volume 8, Brower presents a mirror image of Pierce's past. Now it is Pierce who wields physical dominance over a smaller, defenseless person — and he chooses to walk away. No, this is certainly not a man "implacable in revenge." True, Emma frequently refers to him as an “Avenging Angel” (first so named by Arabella Jul 11 vol 3), which aptly captures the duality of Niall Pierce’s character: he is both dangerous (“Avenging”) and good (“Angel”). Notably, he is not a “fallen angel,” which would indicate a break from heaven and virtue. Instead, he uses his power as an impetus for goodness for others, not himself.

The narrative requires that Pierce represent the Byronic ideal in order to subvert it. Early in the series, Brower sets expectations of Pierce as a Byronic hero by directly connecting him to Mr. Rochester, one of the primary literary examples of the trope. The narrative then subverts that expectation as Emma and readers come to know his true character. Allusions to the Byronic character decrease as Emma comes to know him more as Pierce and less as Rochester. He exists in juxtaposition, a source of tension, embodying both the expectation and the actuality. His gradual dismantling of the trope should encourage readers to revisit the nuance of his character and investigate how such subversion contributes to themes of hope and redemption.

[legend-of-rabbit]

EML theory - Birdsong?

**major spoilers ahead!!**

The first time Emma notes the birds is when she and Pierce go for their walk around London, after Pierce shows Emma the pictures of Afghanistan. They have a moment of silence, dwelling in their miasma of feelings. Then Emma hears birds, and a few boys run across the street, and the spell is broken. She jokes, saying they should go rescue Parian from Cousin Archibald.

The second time we hear the birds, we are standing in from of Maxwell’s grave, and Emma is giving her final farewell. She has a conversation with Maxwell, ending with: “and my own voice rang in my ears and I was back. In the graveyard. Alone. Standing in the end of October, with birdcall and grey clouds…”

The third is the night after Hawkes lances Pierce’s pain and anger. Emma spent all night recounting the events of the day before, and she ends the entry with, “the birds have begun to call.” (Vol. 8, June 18)

The fourth time Emma specifically mentions the birds is after the Alchemy group returns from Nettle. Emma and Pierce are sitting in the garden, and Pierce declares that he hates his step-father. Emma writes that she thought it strange that the birds singing stood out to her. She then tells Pierce, “you could have told me,” and again, the spell is broken.

In these four instances, the birds seem to bring Pierce and Emma back to the present, back to reality. It is followed by a movement forward, away from stagnation, as if it’s saying: it’s important to feel these emotions, but one cannot dwelling in those feelings forever.

Birds seem to be a common description of Pierce and Emma too, Emma being described as a bird, and Pierce’s smile being compared a rare bird. Some notable instances include Pierce’s letter to Emma while he was in Scotland (“While we were discussing our work, a bird flew in through the open window. It was a jackdaw. For some reason it made me think of you.” (Vol. 5, Nov. 24)), Argus Fard’s first impression of Emma (“Pretty bird like you” (Vol 6, Feb. 18)), and Emma’s self-reflection when Pierce returns to Stoncrop (“My heart felt like one hundred birds suddenly flown in every direction” (Vol. 7, March 14)). There are more of course, but these are the ones I remember off the top of my head. Emma also also wears feathers twice (Dancing Duck, Twelfth Night).

Birds seem to represent Pierce and Emma and their relationship. They appear when the two of them have grown closer and let down some of their walls. They are used as descriptions of their most true selves (I don’t really know if Argus Fard’s comment counts, but it can be argued that Emma was in fine form). I’d be interested to see how this pattern continues in future months, and if anyone else has any thoughts on this particular detail that Brower has hidden.

[on-whereabouts-lane]

I have never noticed this before!! Now I want to re-read with an attention to bird imagery & birdsong! Two things come to mind:

1. Birds sing when their environment feels safe and free from predators. Researchers think one reason humans find birdsong relaxing is because these sounds signals "safety" to our brains. Associating this imagery with Emma and Pierce together suggests that their relationship is a safe environment -- a place where they can find refuge, rest, and just be. (and now I need to go lie down 🫠)

2. Bird imagery weaves throughout Brontë's Jane Eyre, present in one of the more memorable quotes, "I am no bird; and no net ensnares me; I am a free human being with independent will" (chapter 23). For Jane here, a bird symbolises the tension from those people and systems who seek to exert power over her, forcing her into a cage of their making. This series has an established connection with Jane Eyre. Does associating birdsong imagery with Pierce and Emma, "free human being(s) with independent will," illustrate the freedom they find with each other?

[on-whereabouts-lane]

Also, me after reading the OP:

[legend-of-rabbit]

EML theory - Birdsong?

**major spoilers ahead!!**

The first time Emma notes the birds is when she and Pierce go for their walk around London, after Pierce shows Emma the pictures of Afghanistan. They have a moment of silence, dwelling in their miasma of feelings. Then Emma hears birds, and a few boys run across the street, and the spell is broken. She jokes, saying they should go rescue Parian from Cousin Archibald.

The second time we hear the birds, we are standing in from of Maxwell’s grave, and Emma is giving her final farewell. She has a conversation with Maxwell, ending with: “and my own voice rang in my ears and I was back. In the graveyard. Alone. Standing in the end of October, with birdcall and grey clouds…”

The third is the night after Hawkes lances Pierce’s pain and anger. Emma spent all night recounting the events of the day before, and she ends the entry with, “the birds have begun to call.” (Vol. 8, June 18)

The fourth time Emma specifically mentions the birds is after the Alchemy group returns from Nettle. Emma and Pierce are sitting in the garden, and Pierce declares that he hates his step-father. Emma writes that she thought it strange that the birds singing stood out to her. She then tells Pierce, “you could have told me,” and again, the spell is broken.

In these four instances, the birds seem to bring Pierce and Emma back to the present, back to reality. It is followed by a movement forward, away from stagnation, as if it’s saying: it’s important to feel these emotions, but one cannot dwelling in those feelings forever.

Birds seem to be a common description of Pierce and Emma too, Emma being described as a bird, and Pierce’s smile being compared a rare bird. Some notable instances include Pierce’s letter to Emma while he was in Scotland (“While we were discussing our work, a bird flew in through the open window. It was a jackdaw. For some reason it made me think of you.” (Vol. 5, Nov. 24)), Argus Fard’s first impression of Emma (“Pretty bird like you” (Vol 6, Feb. 18)), and Emma’s self-reflection when Pierce returns to Stoncrop (“My heart felt like one hundred birds suddenly flown in every direction” (Vol. 7, March 14)). There are more of course, but these are the ones I remember off the top of my head. Emma also also wears feathers twice (Dancing Duck, Twelfth Night).

Birds seem to represent Pierce and Emma and their relationship. They appear when the two of them have grown closer and let down some of their walls. They are used as descriptions of their most true selves (I don’t really know if Argus Fard’s comment counts, but it can be argued that Emma was in fine form). I’d be interested to see how this pattern continues in future months, and if anyone else has any thoughts on this particular detail that Brower has hidden.

[on-whereabouts-lane]

I have never noticed this before!! Now I want to re-read with an attention to bird imagery & birdsong! Two things come to mind:

1. Birds sing when their environment feels safe and free from predators. Researchers think one reason humans find birdsong relaxing is because these sounds signals "safety" to our brains. Associating this imagery with Emma and Pierce together suggests that their relationship is a safe environment -- a place where they can find refuge, rest, and just be. (and now I need to go lie down 🫠)

2. Bird imagery weaves throughout Brontë's Jane Eyre, present in one of the more memorable quotes, "I am no bird; and no net ensnares me; I am a free human being with independent will" (chapter 23). For Jane here, a bird symbolises the tension from those people and systems who seek to exert power over her, forcing her into a cage of their making. This series has an established connection with Jane Eyre. Does associating birdsong imagery with Pierce and Emma, "free human being(s) with independent will," illustrate the freedom they find with each other?

[jadedbug]

jumping in with additional commentary!

Agnes compares Pierce to a hawk quite earlier on. The “avenging angel” description for Pierce, while a more tenuous connection, makes me think also of birds (feathered wings).

Emma is associated with Athena, whose sacred animal is the owl. Between her scholarly pursuits and connection to other lady scholars (Prof. Fletcher, Oxford), we may see more bird allusions soon.

some shrewd-eyed readers have suggested that the woman in white that Emma notices in some of Pierce’s photos from America, and who he corresponds with, may actually be Emily Dickinson (!). While the following was publishing posthumously in 1891, it feels fitting for this analysis:

“Hope” is the thing with feathers -

That perches in the soul -

And sings the tune without the words -

And never stops - at all -

And sweetest - in the Gale - is heard -

And sore must be the storm -

That could abash the little Bird

That kept so many warm -

I’ve heard it in the chillest land -

And on the strangest Sea -

Yet - never - in Extremity,

It asked a crumb - of me.

[legend-of-rabbit]

First, I love that poem.

Second, I hadn’t thought of the Athena and avenging angel imagery. That definitely merits more thought (and rereads). I wonder if there’s any connection with the Midsummer Night’s Dream references there, as the play takes place in Athens, and Emma wore a feathered mask to the masquerade.

Third, back to the poem, it’s interesting that it mentions the storm, which we all know is a common descriptor for Pierce. But Emma, our little bird, is not abashed in Pierce’s storm; in fact, after each instance, Emma has grown in her relationship with Pierce, whether that is in deeper knowledge or greater understanding. Pierce is also hope for Emma, the “birdsong and grey clouds” she notices at Maxwell’s grave.

I love these books so much it’s not even funny

[on-whereabouts-lane]

The poem, the "birdsong and grey clouds" -- this discourse has made my day.

[legend-of-rabbit]

EML theory - Birdsong?

**major spoilers ahead!!**

The first time Emma notes the birds is when she and Pierce go for their walk around London, after Pierce shows Emma the pictures of Afghanistan. They have a moment of silence, dwelling in their miasma of feelings. Then Emma hears birds, and a few boys run across the street, and the spell is broken. She jokes, saying they should go rescue Parian from Cousin Archibald.

The second time we hear the birds, we are standing in from of Maxwell’s grave, and Emma is giving her final farewell. She has a conversation with Maxwell, ending with: “and my own voice rang in my ears and I was back. In the graveyard. Alone. Standing in the end of October, with birdcall and grey clouds…”

The third is the night after Hawkes lances Pierce’s pain and anger. Emma spent all night recounting the events of the day before, and she ends the entry with, “the birds have begun to call.” (Vol. 8, June 18)

The fourth time Emma specifically mentions the birds is after the Alchemy group returns from Nettle. Emma and Pierce are sitting in the garden, and Pierce declares that he hates his step-father. Emma writes that she thought it strange that the birds singing stood out to her. She then tells Pierce, “you could have told me,” and again, the spell is broken.

In these four instances, the birds seem to bring Pierce and Emma back to the present, back to reality. It is followed by a movement forward, away from stagnation, as if it’s saying: it’s important to feel these emotions, but one cannot dwelling in those feelings forever.

Birds seem to be a common description of Pierce and Emma too, Emma being described as a bird, and Pierce’s smile being compared a rare bird. Some notable instances include Pierce’s letter to Emma while he was in Scotland (“While we were discussing our work, a bird flew in through the open window. It was a jackdaw. For some reason it made me think of you.” (Vol. 5, Nov. 24)), Argus Fard’s first impression of Emma (“Pretty bird like you” (Vol 6, Feb. 18)), and Emma’s self-reflection when Pierce returns to Stoncrop (“My heart felt like one hundred birds suddenly flown in every direction” (Vol. 7, March 14)). There are more of course, but these are the ones I remember off the top of my head. Emma also also wears feathers twice (Dancing Duck, Twelfth Night).

Birds seem to represent Pierce and Emma and their relationship. They appear when the two of them have grown closer and let down some of their walls. They are used as descriptions of their most true selves (I don’t really know if Argus Fard’s comment counts, but it can be argued that Emma was in fine form). I’d be interested to see how this pattern continues in future months, and if anyone else has any thoughts on this particular detail that Brower has hidden.

[on-whereabouts-lane]

I have never noticed this before!! Now I want to re-read with an attention to bird imagery & birdsong! Two things come to mind:

1. Birds sing when their environment feels safe and free from predators. Researchers think one reason humans find birdsong relaxing is because these sounds signals "safety" to our brains. Associating this imagery with Emma and Pierce together suggests that their relationship is a safe environment -- a place where they can find refuge, rest, and just be. (and now I need to go lie down 🫠)

2. Bird imagery weaves throughout Brontë's Jane Eyre, present in one of the more memorable quotes, "I am no bird; and no net ensnares me; I am a free human being with independent will" (chapter 23). For Jane here, a bird symbolises the tension from those people and systems who seek to exert power over her, forcing her into a cage of their making. This series has an established connection with Jane Eyre. Does associating birdsong imagery with Pierce and Emma, "free human being(s) with independent will," illustrate the freedom they find with each other?

[shakeymcshakespeare]

"Women with pockets are a threat to the male sex.” ― Beth Brower, The Unselected Journals of Emma M. Lion: Vol. 8

[kosmogrl]

[mournfulroses]

Oscar Wilde, from a letter featured in The Selected Letters of Oscar Wilde

[jadedbug]

one of the things i so love about the unselected journals of emma m. lion is that she doesn’t shy away from the uglier realities of life. anger that cuts to the bone. grief that chokes and starves you. painfully awkward conversations with friends and strangers alike. uncertainty that keeps you up at night. injustices suffered and borne at the hands of relatives and people who should know better. messy, real pain that isn’t healed by one sermon and is the product of a lifetime of not just personal hurts but institutional hurts. people who dodge questions and avoid looking in the mirror because the truth is too painful. people who put up walls because they can’t even bear the idea of someone really seeing them. the characters carry such real, lived in pasts that lend a gratifying level of interiority to their emotions and experiences.

[on-whereabouts-lane]

I had initially assumed I'd be doing this one in grey and silver, but research revealed otherwise! Brower identifies crimson red as primary for our photographer, and grey as secondary.

It's so hard to choose which Alchemy friend next because I love the colour palettes I worked up for both Emma and Hawkes.

also, a quick inclusion of my "helper:"