63 pages 2-hour read

My Oxford Year: A Novel

Fiction | Novel | Adult | Published in 2018

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Chapter 25-EpilogueChapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of illness, death, substance use, and sexual content.

Chapter 25 Summary

Chapter 25 begins with a quote from Christina Rossetti’s “Song,” 1848.


The debate goes well, and Ella’s plan to corner Hillerson in his own misogyny works. Ella’s choice for her birthday vacation is Scotland to see Jamie’s family’s home. Jamie is irritated by her choice, but he accepts. Ella is shocked by the beauty of Scotland, and Jamie introduces her to Smithy, who works in his parents’ home. Antonia welcomes them warmly, while William glares at them.


Antonia shows Ella around the estate, with Jamie quietly correcting Antonia’s mistakes about the history of the property. Antonia shows Ella her room, noting that Jamie is staying in a different room. Antonia leaves, and Ella and Jamie agree that they love her. They do not say they love each other, and Ella wonders if he feels it. Jamie and Antonia lead Ella to a large hall where they discover a surprise birthday party. Charlie, Maggie, and Tom greet Ella excitedly, and Jamie kisses Ella. She realizes she loves him and wants to tell him.


Ella opens presents, including a spa certificate from Cecelia, and Jamie promises a gift later. Tom implies his interest in Maggie, frustrating Maggie and Charlie. Gavin and Janet call, sing happy birthday, and offer Ella the deputy political director position, which Ella accepts. Ella thinks about her birthday 12 years prior but suppresses the memory. William watches Ella, and they smile politely at each other. Antonia gives Ella an engagement ring, which a clerk gave Antonia’s grandmother. Antonia’s grandmother was Carolina Vanderbilt, and she moved to Scotland after the clerk proposed because her father did not approve. Antonia says the gift represents Antonia and William’s approval of Ella’s involvement in Jamie’s life, despite the circumstances.


Ella goes to the bathroom and almost drops the ring in the sink, feeling unworthy of the gift.


Ella helps Smithy and Antonia in the kitchen, and Antonia sends William to the cellar for wine. Antonia tells Ella that William is impressed that Ella got Jamie to come home. They all agree that William and Jamie need to talk, and Jamie enters. Ella suggests wine, and Jamie grabs a sweater to bring to the cellar. Antonia and Smithy compliment Ella’s cleverness, and they go to the back stairs to listen in case William and Jamie fight.

Chapter 26 Summary

Chapter 26 begins with a quote from Coventry Patmore’s “The Rosy Bosom’d Hours,” 1876.


Antonia and Ella listen as Jamie enters the cellar and greets William. They start to argue, and Jamie leaves. William smashes a wine bottle and cries, and Jamie returns. They argue about their relationship as Jamie starts sweeping up the glass, but William tries to stop him. Jamie tells him to stop, noting that “stop” was Oliver’s last word, telling Jamie and William to stop arguing. Jamie accuses William of hating him for taking Oliver off life support and wishing that Jamie had died instead of Oliver. William corrects Jamie, saying he wished he died instead of either of his sons. Jamie compares William’s love to wine kept in a cellar and never opened, and William helps Jamie dress a cut on his hand. Antonia kisses Ella and thanks her before joining William and Jamie, who are now bantering pleasantly. Ella lingers in the stairway, enjoying the family moment without joining or leaving.


At dinner, Charlie prods Jamie and Ella about their plans after Ella goes back to America. Ella emphasizes the importance of her job and her passion for politics, but Charlie insists she should prioritize Jamie. Charlie goes to the bathroom, and Jamie announces his illness. Maggie cries, Tom deflates, and William proposes a toast. Charlie returns, confused, and William thanks Ella, hoping to share more birthdays at this table. Maggie turns to Tom and says she is finished with him, but Tom says he wants to be with her. The only reason Tom didn’t pursue Maggie was because he feared he could not withstand her rejection. He kisses her, she leaps on him, and Antonia suggests dessert.


At night, Ella sneaks toward Jamie’s room and runs into Maggie, who is sneaking to Tom’s room. They pass each other, and Ella goes into Jamie’s room, finding him in bed waiting for her. They undress and caress each other. They thank each other and say they love each other before having sex.


In the morning, Ella rolls into Jamie and hears his breathing is raspy. He has a fever, and his eyes are rolling back in his head. Ella screams.

Chapter 27 Summary

Chapter 27 begins with a quote from “Fragment” by an unknown author.


Ella is frustrated waiting for Jamie’s parents, for the paramedics, and for the trip to the hospital. She tries to remember any relevant information and worries that Jamie might not survive. Ella, Antonia, and William talk to Dr. Corrigan, who says Jamie is in a medically induced coma while they treat him for pneumonia. Ella tells the doctor that Jamie just finished a drug trial, stripped and stained a floor in his home, and drank a lot the night before, which the doctor says is helpful information. Ella, Antonia, and William stay in the hospital, talking infrequently. Antonia asks about Ella’s parents, and Ella tells her that her mother is a receptionist, and her father ran a bar before he died. Antonia notes that William’s father ran a bar, and William adds that Ella’s father was an activist. Antonia thinks Ella is involved in politics to keep her father alive, which makes Ella question her life choices.


Tom, Maggie, and Charlie visit, and Maggie and Tom hold hands. They are surprised that Ella still wants to go back to the US in June, and Charlie tells Ella that love does not make her weak.


Cecelia arrives and cries with Ella. They have tea in the cafeteria before going back to Antonia, who appreciates that Cecelia came. Cecelia and Antonia are grateful for the time they had with Oliver and lament that they are in the same situation again. Ella says she has never had time with someone before they died, remembering how her last memory of her father is of him putting on his jacket and leaving the house. Ella cries, Antonia and Cecelia comfort her, and it feels good to cry together.


William approaches and asks to speak with Ella.

Chapter 28 Summary

Chapter 28 begins with a quote from Algernon Charles Swinburne’s “The Garden of Proserpine,” 1866.


William takes Ella to another room and asks if they should let Jamie die if the doctors say he will not recover. Ella thinks “no” but says “yes,” thinking that she spent her life as a child and just now became an adult. William thanks Ella for giving Jamie a reason to fight the cancer, and they embrace.


Ella takes her and Jamie’s suitcases into the bathroom to change. She puts one of Jamie’s sweaters on and notices a package and an envelope. In the package is a journal, which Jamie inscribed for Ella. The journal is full of poems Jamie wrote, mostly describing moments and discussions she and Jamie had. Ella cries, noting that the journal is a record of their whole relationship. The envelope contains a rail pass for 30 days. Ella realizes Jamie got her the pass knowing that he would not be able to go with her because he did not want to hold her back from exploring Europe.

Chapter 29 Summary

Chapter 29 begins with a quote from William Allingham’s “Untitled,” 1890.


Dr. Corrigan wakes Antonia, William, Ella, and Cecelia with news. Jamie is still sedated, but his tests show he might be in remission. The primary focus of treatment is on curing the pneumonia. Ella demands to see him, and Cecelia suggests Dr. Corrigan give Ella a mask, since Jamie is in isolation.


Ella asks Dr. Corrigan how long Jamie will have if they can cure the pneumonia, but Dr. Corrigan does not know, saying Jamie’s oncologist is best equipped to answer that question. Ella sits with Jamie and thinks about the time they spent together. She bargains with Jamie in her mind, asking him to stay and offering to stay with him. Ella realizes that she would rather spend as much time with Jamie as possible before his death, even if it means giving up her role in Janet’s campaign. Ella speaks the bargain out loud, and Corrigan comes to take Ella back out of the room.

Chapter 30 Summary

Chapter 30 begins with a quote from Matthew Arnold’s “The Scholar-Gypsy,” 1853.


Connor texts Ella to congratulate her, sending a CNN link showing Janet won the primary in five states. Hillerson dropped out of the race. Ella calls Gavin, who excitedly starts planning for Ella to come home earlier than expected. Ella quits, and Gavin is shocked. Janet gets on the phone and tells Ella her door will always be open, assuring Ella that she should make the choices that feel right for her. Ella thinks politics was her father’s passion, not hers, and she wants to stay in England and enjoy as much time with Jamie as possible. Ella knows she would have done an excellent job, but she realizes she did not tell anyone about her promotion. Ella feels like she is waking up from a dream, seeing that her desire to come to Oxford was her real passion all along. She has found love, family, and connections at Oxford. Ella gets coffee for everyone and tells William they need to talk. Ella wants to take Jamie traveling when he wakes up, and she intends to travel until Jamie cannot travel anymore. William agrees, and Dr. Corrigan announces that they are waking Jamie.


Ella enters Jamie’s room first, and he looks ill. She approaches him and whispers “I love you” in his ear. He smiles and leans forward, but he jokingly says it is good that he does not love her, referring to what Ella said when she found out Jamie was sick.

Epilogue Summary

The Epilogue begins with a quote from Charles (Tennyson) Turner’s “Letty’s Globe,” 1860.


After six weeks of recovery, Jamie and Ella travel across Europe. At a waterfall near the Amalfi coast, Jamie swims like a dolphin, and Ella commits the sight to memory. Jamie fought Ella’s decision to stay at first, but Antonia convinced him that Ella knows what is best for herself. Jamie and Ella wake up together, preparing to drive to Switzerland. Ella knows they will not be together forever, but she came to Oxford and chose a life. Ella feels that their love is forever, even if their time is not.

Chapter 25-Epilogue Analysis

The ending of My Oxford Year subverts the expectations of sick lit, which often uses romance as a lens for illness, or uses illness as an element to highlight romance. Many sick lit novels end with one of the characters dying, such as A Thousand Boy Kisses by Tillie Cole or The Fault in Our Stars by John Green. My Oxford Year does not end with Jamie’s death, instead focusing on the value of the time Ella and Jamie can spend together before his death. In the Epilogue, Ella comments: “We were never forever, Jamie and I. Nothing is in this life” (276), highlighting the reality of mortality even without the threat of illness. Ella and Jamie are living their romance without dwelling on Jamie’s cancer because anyone can die at any time. This shift reframes the story not as one of inevitable tragedy but as one of agency. Ella chooses to stay, Jamie chooses to live fully, and together they redefine what fulfillment looks like in the shadow of impermanence. By withholding the expected death, Whelan resists the genre’s usual closure and instead leaves the reader in a space of uncertainty, where love and mortality coexist without resolution. This literary choice forces the emphasis onto process rather than outcome, privileging how the characters live rather than how they die.


Chapter 25 marks an important turning point when Antonia gifts Ella a Vanderbilt heirloom ring. The ring is symbolically double-edged, a gesture of family acceptance but also a reminder of generational expectations and permanence. Ella nearly drops the ring down the sink, reflecting her own sense of unworthiness and foreshadowing her ambivalence about whether she can belong in Jamie’s world. This moment highlights the theme of Career Ambition Versus Personal Fulfillment, as Ella can accept the symbolic role of future caregiver and partner, or she can slip away into the parallel path of her political career.


The cellar confrontation in Chapter 26 brings William’s emotional arc to its climax. Jamie’s reminder that Oliver’s last word was “stop” forces William to acknowledge how his insistence on further treatment prolonged suffering rather than preserving dignity. Jamie’s metaphor comparing love to unopened wine suggests that William’s affection has always existed but was never expressed, making William’s eventual tenderness a belated but transformative gesture. This reconciliation also reinforces Illness as a Catalyst for Reevaluating Life Choices, as both father and son must redefine what it means to love in the face of mortality. The subsequent hospital chapters (Chapters 27 through 29) intensify the theme of The Transformative Power of Love and Loss. Ella’s vigil at Jamie’s bedside, her crying with Antonia and Cecelia, and her whispered bargains dramatize how grief begins before death. Her realization that she never got to spend time with her father before his sudden death deepens her determination to treasure every moment with Jamie. In this way, loss does not merely wound Ella; it sharpens her ability to love more fiercely.


Critically, the conflict between Ella’s desire for a career and her desire for romance comes to a head as Jamie’s illness peaks. Her decision regarding Career Ambition Versus Personal Fulfillment becomes separated from the issue of Illness as a Catalyst for Reevaluating Life Choices, as she chooses her life with Jamie over her career in politics. As Ella tells Janet about her decision to stay with Jamie, she notes: “It turns out, the act of making a choice, of choosing a path, doesn’t mean the other path disappears. It just means that it will forever run parallel to the one you’re on” (268), emphasizing how Ella’s decision is not a matter of fate or destiny. Her choice to stay with Jamie is just one of the paths she could choose, and she knows that either path could be fulfilling. By choosing Jamie, Ella is choosing a specific type of fulfillment, which cannot coexist with her career ambition under Janet and Gavin, but she knows that that path can also offer fulfillment. Jamie’s illness is not the catalyst for this choice, since Ella knows that she would want a life with Jamie even if that life could last longer than she expects. Her “parallel paths” metaphor underscores that she is not renouncing ambition but rather prioritizing a form of fulfillment rooted in intimacy rather than achievement. This moment also clarifies that Ella’s political aspirations were partly a subconscious attempt to keep her father’s activism alive, a way of channeling his unfinished work into her own. By contrast, Oxford was always her true dream, born of her own longing for beauty and escape, and she realizes that living fully in the present—not carrying the weight of another person’s legacy—is the path that finally feels like her own.


The culmination of Illness as a Catalyst for Reevaluating Life Choices, instead, comes from William, Jamie’s father. When Ella tells William that she intends to travel with Jamie when he comes out of the medically induced coma, he simply responds: “Your terms are acceptable,” and Ella notes the “barest hint of a smile” (272) on his face. William fought Jamie’s choices throughout his illness, a pattern Jamie recalls from William’s behavior when Oliver was sick. Only after seeing Ella and Jamie’s love and understanding Jamie’s desire to live his life on his own terms does William start to see that Jamie’s time is valuable. Even though William wants to exert control over Jamie’s treatments and life, trying to squeeze as much time out the illness as possible, he now sees how that life is not what Jamie wants, and Jamie’s desire to live has actually expanded because of his love for Ella. William’s decision to allow Jamie and Ella to travel shows that he has embraced the same perspective on mortality that Ella displays in the Epilogue, in which the length of life does not matter as much as the experiences that fill it. William’s arc, from authoritarian patriarch to quiet accepter of Jamie’s autonomy, mirrors Ella’s own acceptance that love cannot be managed or contained.


The Epilogue provides Ella with her long-awaited metaphor: a waterfall. Where Jamie had his ford and Tennyson had his sandbar, Ella embraces a symbol of unstoppable motion, where water keeps flowing regardless of human desire. This imagery ties together all three themes, as love and loss are transformative, illness demands reevaluation, and fulfillment requires relinquishing control. Ella no longer clings to her childhood dream of Oxford as escape; she instead embraces her adult reality of Oxford as the place where she chose life, love, and presence.

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