63 pages • 2-hour read
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Content Warning: This section of the guide includes discussion of substance use.
Chapter 1 begins with a quote from Robert Browning’s “Home-Thoughts, From Abroad,” 1845.
Eleanor “Ella” Durran waits in the customs line at Heathrow Airport in late September. She gets a call from Gavin Brookdale, the former White House chief of staff. Gavin is backing Janet Wilkes, a successful, grass-roots senator, for the presidential election against former vice president George Hillerson. Janet and Gavin read Ella’s article on education in The Atlantic, and they know Ella has already helped with two other politicians’ campaigns. Gavin wants Ella to be Janet’s education consultant. Ella explains that she is spending the next year studying Victorian literature at Oxford University as a Rhodes Scholar. Gavin wants Ella to come home, noting that literature is not as important as politics, but Ella offers to work from England. The customs agent and people in line press Ella to hurry, and she goes through customs after Gavin says he will call her back.
When Ella was 13 and struggling with her family life, she read an article about an American girl having a transformative year at Oxford, which became her dream. After customs, Ella buys her ticket back to the US for June. Ella sought the Rhodes Scholarship because she fits in with the ambitious planners known as “Rhodies.” Her ambition alienates her from her family and community, but it gets her noticed by people like Gavin.
Ella wakes up when the bus approaches Oxford. Gavin calls and hires Ella, telling her she needs to keep her phone on hand while working from Oxford. Ella accepts and takes in the view of Oxford, called “The City of Dreaming Spires,” and Gavin tells her to visit The Turf, a pub that Bill Clinton, also a Rhodie, once visited.
Chapter 2 begins with a quote from Elizabeth Barrett Browning’s “The Best Thing in the World,” 1862.
Ella brings her luggage through High Street, past students and tourists bustling on narrow sidewalks. Ella will belong to Magdalen College, pronounced “maudlin,” which she chose because Oscar Wilde studied there. She struggles to understand passing people and signs because of differences in accent and spelling. At the check-in office, an old man named Hugh brusquely requests Ella’s information and gives her the keys and cards she needs to get into her room and navigate the school. Ella leaves her bags with Hugh to go eat and passes a man on her way back to High Street, or “the High.” Hugh calls the man a “posh prat.” Outside, Ella finds the Happy Cod Chip Shop, the same chip shop from the article she read at age 13. As Ella crosses the street, a silver convertible driven by a man with long, brown hair rushes past, making Ella jump.
Ella goes into the chip shop and greets the man behind the counter, Simon, before ordering. She tells Simon about her career in American politics and her upcoming year at Oxford studying under Professor Roberta Styan. Simon gives Ella her food and recommends multiple condiments. Ella loves the smell and taste of the food, as well as the newspaper wrapping. A man enters with a woman and they order. Simon calls the man “JD,” and the woman complains that potatoes will make her gain weight. JD retorts that oil, not potatoes, cause weight gain. He notes the devastating effects of the Great Famine in Ireland and makes fun of the woman when she says the Irish should have eaten something other than potatoes. JD challenges the woman to name the year in which the Great Famine started. Ella makes a plate of condiments while eavesdropping thinking JD sounds both elegant and arrogant. She runs into him, spilling her condiments as she turns around. Ella recognizes JD as the driver of the convertible.
Chapter 3 begins with a quote from Edward Lear’s “How Pleasant to Know Mr. Lear!” 1871.
JD and Ella look into each other’s eyes, and Ella explains that JD almost hit her with his car. JD gets a gleam in his eyes that tells Ella he is attempting to flirt with her. She is furious, but he will not apologize. He attempts to help her clean her shirt with a towel, but she pushes him away and tries to do it herself, unsuccessfully. She calls him a “posh prat,” and he offers her a 50-pound note, which she rejects. When Ella makes a disparaging remark about JD’s date, JD becomes serious and seems hurt. Ella pays Simon and leaves, shouting back that the Great Famine happened in 1845.
Ella walks back to Magdalen, feeling slightly embarrassed by the chip shop interaction. She hates men like JD, since she knows many men who think their parents’ money can buy respect. Hugh is not in the lodge, but Ella pushes past his office to the staircase that winds up to a top-floor landing. The man from Hugh’s office leaves the room opposite Ella’s, and a man in a robe comes out after him, stopping when he sees Ella. The man claims to be Sebastian Melmoth, which he says is a generational name, but Ella tells him Sebastian Melmoth is Oscar Wilde’s pseudonym, making him retreat into his room. Ella finds her luggage in her room and mentally thanks Hugh, after which she returns her mother’s panicked emails, hesitating to write “I love you.” Ella checks the time, 6:30 pm, and tries to sleep, but someone wakes her by entering her room at seven o’clock.
Chapter 4 begins with a quote from the Rubaiyat of Oman Khayyam, 1859.
Eugenia, Ella’s “scout,” enters the room, and they scream when they see each other. Eugenia tells Ella to go back to bed and starts cleaning her bathroom, but Ella introduces herself. Eugenia says she comes every day except Saturday, Sunday, and bank holidays, and she has been cleaning Sebastian’s room for four years.
Ella gets coffee from a newsstand and makes her way across town to the Rhodes orientation. Along the way, she sees historical landmarks, people from different countries, Oxford merchandise, and the spot where Thomas Cranmer died. She makes it to orientation with only a minute to spare, but Janet Wilkes calls her with Gavin. Janet congratulates Ella on the job, and Gavin brings in a pollster, Priya Banergee. Ella accepts that she will miss orientation. Another Rhodie, Connor, steps out of the orientation on a phone call, and they exchange irritated looks.
Ella and Connor finish their calls at the same time. Connor quit his job in healthcare to get a master’s degree in global health, and he is surprised, like everyone else, to hear that Ella is studying literature. They attend the remainder of the orientation, after which Ella needs to rush to her first English class. Connor gives Ella his phone number.
Ella is late to class, but the professor is not there. A student with pink hair offers Ella a seat, but Ella sees Pink Hair is anxious and avoids pushing her. Sebastian Melmoth enters, but Pink Hair calls him Charles. Charles invites Ella and Pink Hair to drink later. Professor Styan enters but explains that she is not teaching the class. Instead, her teaching assistant, Jamie Davenport, will teach them. Ella recognizes Jamie as JD from the chip shop.
Chapter 5 begins with a quote from Alfred, Lord Tennyson’s “The Lady of Shalott,” 1831-2.
Jamie opens the class by saying he was surprised to find so much emotion during what he perceived was a repressed period. He took Victorian poetry five years prior. He pauses when he recognizes Ella but pushes on, asking if anyone has questions. Ella asks for a syllabus, and Jamie says there isn’t one, which everyone else seem to know. When Ella says it is an “Oxfordian” thing, another student, Cecelia, corrects her, saying people who go to Oxford are “Oxonians,” embarrassing Ella.
Ella struggles to follow the other students’ discussions, and she realizes she would not have been accepted to Oxford, nor does the Rhodes prove her ability in English classes. Jamie leads the discussion deftly and emphasizes the importance of emotion in poetry by quoting a poem and asking everyone who wrote it. Only Ella knows and raises her hand, though Jamie reminds her that raising hands is unnecessary. Her answer impresses the others. Jamie assigns a short paper and asks the students to pick a poem they like and explain it emotionally. He quotes a Robert Frost poem, and Ella again provides a name and date. Jamie asks to speak with Ella and apologizes for his behavior in the chip shop, saying he received some bad news and had been drinking. Ella accepts his apology and stares at him, marveling at how handsome he is. Jamie jokes that Ella should have given his date more time to remember the date of the Great Famine, and Ella says time was not the issue. As Ella leaves, Cecelia congratulates Jamie on teaching and suggests dropping the class to avoid making Jamie uncomfortable. Jamie says he enjoys seeing “Ce’s” face in the class, which makes Ella drop her bag, distracting them.
Chapter 6 begins with a quote from Richard Watson Dixon’s “Dream,” 1861.
Ella finds Charlie and Pink Hair and joins them. Pink Hair’s name is Maggie, and she and Charlie invite Ella to tea. Maggie notes that “Oxfordian” also refers to part of the Jurassic Period. Charlie jokes about sleeping with Ella, who responds that she knows Charlie is gay. Charlie is surprised Ella does not think he is just eccentric and British, and Maggie and Ella laugh. Maggie needs to run an errand and invites Ella to come with her, so Ella straddles the handlebars of Maggie’s bike. Maggie says Ella can buy a bike from a friend of hers.
Maggie brings Ella across town, where they meet Tom at his apartment. Tom attempts to flirt with Ella, who rejects him, and Maggie reminds Tom that he is selling a bike. Ella buys his bike for 30 pounds. Tom has been at Oxford for six years, but he kept changing majors and eventually stopped attending the school. Now, he is a tutor who helps others apply to Oxford. Ella can see that Maggie has a crush on Tom, and she invites him to tea. Tom agrees, and Maggie and Ella step outside. Maggie confesses her feelings for Tom to Ella, who encourages Maggie to pursue Tom. Maggie is frustrated because Tom flirts with everyone but her. Tom joins them, examines Maggie, and points out some bird poop in her hair.
Chapter 7 begins with a quote from John Clare’s “Love’s Pains,” 1844.
Ella, Maggie, Charlie, and Tom go to tea and see a rower Charlie likes, but Charlie says the rower is not ready to explore his sexuality. Ella tells them how Jamie almost hit her with his car, spilled condiments on her, and apologized to her after class. Maggie sees Cecelia and waves to her, and Charlie and Maggie explain that Cecelia was doing her graduate studies, dropped out, and recently returned. Cecelia comes over but does not seem to like Ella. She greets Maggie and leaves. Ella asks if Cecelia and Jamie are dating, and Maggie and Charlie report that Jamie dates a lot of women but does not stay in relationships. Ella insists she is not attracted to Jamie and only intends to travel and study for the year, but Charlie and Maggie warn Ella about Jamie anyway.
After tea, the group goes to Blackwell’s to buy their books, and Ella thinks about how Maggie, Charlie, and Tom are all fixtures of Oxford in their own ways. After a nap, Ella peruses a poetry anthology for Jamie’s assignment and picks Elizabeth Barrett Browning’s “A Man’s Requirements.” The poem discusses the ways a man wants a woman to love him, but he promises only six months of his love in exchange. Ella writes her essay on the poem, thinking it is fitting for Jamie. Ella deletes some emails from her mother trying to set her up with one of her friend’s sons and considers calling her. Since arriving at Oxford, Ella had a class, got a job, made friends, insulted her professor, and learned that she cannot compete with the other students. Ella’s mother lives a sheltered life, and Ella misses her father. Jamie writes that he is looking forward to Ella’s essay, and Ella debates responding to him, picturing him as Mr. September in a lewd Oxford calendar.
A few days pass, and Ella spends most of her time with Maggie. Ella misses American food, and Gavin emails her constantly, calling at least once each day. At the Bodleian Library, Charlie shows Ella around and finds her a copy of the Tatler, which reminds Ella of American reality television. Jamie appears, tells Ella to come to his rooms, and leaves. Charlie thinks Jamie is attracted to Ella.
The beginning of My Oxford Year, much like the title, structures the novel around a distinct starting point: Ella’s arrival in England. The title of the novel implies its length and structure by setting the reader up for a single year at Oxford, during which the romance will occur. Ella’s life in the US is not specifically relevant anymore, as she is stepping away from her past to enjoy her fantasy year. The involvement of Gavin and Janet’s campaigning, then, forms a tie back to Ella’s past, keeping Ella in American politics while she enjoys Oxford. The bulk of this section recalls the tropes and content of the travel-oriented romantic comedy: the fish-out-of-water newcomer overwhelmed by a foreign culture, the quirky new friends who serve as guides, and the arrogant yet attractive love interest who initially clashes with the heroine but eventually reveals hidden depth. Whelan deliberately plays with genre expectations, allowing Ella’s new environment to resemble the script of a romantic comedy while layering in political and personal stakes that complicate the fantasy. As the novel progresses, however, these tropes are used to shift the tone of the work, especially as Ella finds out more about Jamie.
The critical theme that opens the novel is Career Ambition Versus Personal Fulfillment, since Ella needs to balance her desire to succeed in American politics against her personal interest in experiencing Oxford. Ella’s Rhodes Scholarship encompasses this struggle, as Ella notes: “While, yes, the Rhodes is a golden ticket to Oxford, it’s also a built-in network and the means to my political future” (12). Being a Rhodes Scholar literally combines Ella’s fantasy of a year at Oxford with the career ambition of rising through the ranks of the American political landscape. At the same time, Ella’s status as a Rhodes Scholar highlights the duality of her character. On one hand, she is a dedicated planner invested in elevating American education, which is what got her the Rhodes Scholarship. However, Ella is a dreamer intent on living the dream she has held onto since she was 13. Her immediate decision to buy her return ticket for June underscores how she tries to maintain control of her year, even as the Oxford setting resists the careful timelines she creates. These elements of her character, ambition and chasing her personal dreams, seem to live peacefully alongside one another so long as Ella can balance calls from Janet and Gavin with nights out with Maggie, Charlie, and Tom, but this delicate balance promises to become a primary conflict in the novel.
Ella’s first encounters at Oxford highlight this tension between professional composure and personal chaos. In the Happy Cod, her collision with Jamie (the arrogant driver she already resents) initiates their dynamic of attraction and antagonism. The spilled condiments function symbolically: Ella cannot keep her experiences neatly contained, and her embarrassment marks the first crack in her polished, career-driven façade. Similarly, Ella’s discomfort in Jamie’s classroom, where she accidentally embarrasses herself by calling Oxford students “Oxfordians,” emphasizes her outsider status. These scenes reveal how Oxford challenges not only her intellect but also her sense of identity, forcing her to confront both cultural and emotional vulnerability.
The rigidity of Ella’s structured, career-driven life is immediately disrupted by her near collision with Jamie’s car and their chaotic meeting at the Happy Cod. These scenes foreshadow the way Jamie will complicate Ella’s carefully planned path, pushing her toward vulnerability and emotional risk. In this sense, both Illness as a Catalyst for Reevaluating Life Choices and The Transformative Power of Love and Loss are seeded early in the text: Jamie is framed from the outset as a figure who will destabilize Ella’s order for the better, forcing her to reassess her priorities and her resistance to intimacy.
The epigraph that begins each chapter, quotes pulled from Victorian poetry, set the tone for a chapter, highlight a specific element of Ella’s character development, or reflect on the broader questions posed by the text. The excerpt that opens Chapter 7 is from John Clare’s “Love’s Pains,” a poem about the difficulty of making love last. The speaker of the poem complains that their love was once a wonderful part of their life, but it has since become difficult and painful. The portion Whelan uses in the epigraph reads: “This love, wrong understood, / Oft’ turned my joy to pain; / I tried to throw away the bud, / But the blossom would remain” (55), which foreshadows Ella and Jamie’s misunderstandings. Jamie has a reputation for dating many women for short periods of time, which evokes the “bud” of love without the blossom. Likewise, Ella does not understand Jamie, which makes her infatuation with him painful and difficult to bear. The poem begs the question of whether the “bud” of love needs to lead to the pain of misunderstanding, or if Ella and Jamie could keep both the bud and blossom without pain. The epigraphs also gain new layers of meaning once the events of each chapter unfold. What appears at first to be an abstract poetic fragment often resonates more deeply in retrospect, as the chapter’s conflicts and emotions echo or complicate the imagery of the chosen poem.
This section also foregrounds Ella’s new friendships with Maggie, Charlie, and Tom, which contrast with the professional relationships Gavin and Janet represent. Maggie and Charlie quickly become her emotional anchors, and their teasing observations about Ella’s attraction to Jamie expose what Ella tries to deny to herself. Ella’s decision to write her first paper on Elizabeth Barrett Browning’s “A Man’s Requirements,” which mocks men’s ability to love for more than six months, further illustrates her tendency to intellectualize rather than feel. Her choice of poem is not accidental—it allows her to analyze Jamie’s reputation while avoiding her own emotions. In this way, Whelan sets up a central pattern, as Ella distances herself with irony and analysis until love forces her to risk sincerity.



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