49 pages 1-hour read

The Children Act

Fiction | Novel | Adult | Published in 2014

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Chapter 2Chapter Summaries & Analyses

Chapter 2 Summary

Content Warning: This section of the guide includes discussion of illness, religious discrimination, and death.


Fiona sets off for work at the Royal Courts of Justice. On the way, she tries not to think about anything and studies her surroundings instead. She plays a Bach piece in her mind to distract herself, but the song immediately reminds her of Jack. She feels self-pitying again and begins listing all of her annoyances with her husband. At 59, she suddenly feels alone and abandoned. She turns her attention to the nearby Great Hall, but her mind returns to Jack again. Suddenly, she can’t stop thinking about her childlessness, either.


Fiona always wanted a child, but after she and Jack fell in love and married, they decided to wait to have children. At first, she was busy with school and exams. Then she was in law school and taking the bar. Then, she and Jack’s families would visit. When she saw their nieces and nephews, Fiona’s desire for children returned, but she kept putting off a family to focus on her career. Finally, she was sworn in and took the Judicial Oath. She became consumed by work, and the years passed.


Crossing New Square, Fiona is upset, thinking about the children that she never had. Finally, she arrives at the Courts of Justice and moves through the elaborate space. She greets Nigel outside her chambers and settles in for the day. Eventually, she reads the papers associated with Adam Henry, the case Nigel mentioned the evening before. She reads the background on his parents, Kevin and Naomi Henry, before getting up for a coffee. In the hall, she runs into Justice Sherwood Runcie, a colleague she doesn’t always like. She thinks of one of his recent rulings, unsure if she agrees. He tells her a legal joke, and she feigns amusement before returning to her work.


Fiona rules on several cases throughout the day before returning to her chambers late that afternoon. Feeling annoyed that Jack hasn’t contacted her all day, she calls a locksmith about changing the locks on their flat. Then she reopens Adam’s file, which is “an urgent application” because of his tenuous health condition (57). 


Finally, she leaves the courthouse for the day. Suddenly disinterested in being home or seeing Jack, she takes a detour, wending through the city streets. When she finally returns, she feels relieved that Jack isn’t home but surprised that there’s no evidence of the locksmith’s work. Inside, she tries to enjoy the silence of Jack’s absence. She has a drink, plays the piano, and lies on her bed listening to the radio until she falls asleep.


In the morning, Fiona returns to work. She sorts through files, applications, arguments, and submissions. Although moody, she tempers her feelings to focus on her work and get through the day. However, her mind keeps drifting to the stack of ignored invitations on her desk. She thinks about her isolation and realizes that Jack might be right to leave her. She checks her email and phone, but he still hasn’t contacted her; his silence reinvigorates her irritation.


Fiona turns her attention back to her work. Throughout the rest of the day, her mind drifts between her various trials and lingering disappointments in her personal life. Finally, she and her colleagues Mark Berner, John Tovey, and Leslie Grieve gather in the courtroom to hear the Adam Henry case.


Mark gives the opening statements and lays out the case for Fiona. Adam is three months from turning 18 and thus still under his parents’ guardianship. He has leukemia, and the hospital wants to give him a blood transfusion so that they can administer two new medications to save his life. His parents don’t want the transfusion because it’s against Jehovah’s Witnesses’ beliefs. If Adam doesn’t receive the transfusion, he’ll either die or suffer serious physical and mental repercussions, including potential blindness and/or brain damage. Tovey and Grieve also present arguments and question the Henrys. Fiona listens intently, asking questions when necessary.


Adam’s father, Kevin, explains that their religion prohibits transfusions because taking the blood of other people or animals into their bodies is against Biblical teachings, as it’s unclean. He and his counsel, Grieve, insist that he and Naomi aren’t forcing their beliefs on Adam. He follows their faith and has refused the transfusion of his own volition. Grieve also insists that he’s talented, smart, and artistic, proving that he can make his own choices.


The opposing counsel argues that Adam has been entrenched in the faith for his entire life and can’t think outside of it. If he has the transfusion, he’ll be shunned and lose his family and community. Furthermore, the Henrys and their faith are endangering Adam by refusing his treatment. Opposing counsel also argues that some Jehovah’s Witnesses aren’t against blood transfusions. 


Fiona takes a brief recess to return to her chambers. She checks her phone, but Jack still hasn’t texted or emailed. She turns her attention back to the case, reflecting on what she’s heard so far. Back in the courtroom, Fiona hears closing statements. She decides to temporarily suspend the trial so that she can speak to Adam, who is at the hospital, herself.

Chapter 2 Analysis

Fiona’s involvement in the Adam Henry case introduces the novel’s explorations of The Tension Between Different Moral Codes. In the context of Adam Henry’s case, Fiona represents the law, while Adam and his family represent religion and faith. The dynamics of the case challenge Fiona to make a moral judgment about the Henrys’ Jehovah’s Witness belief system to either save Adam’s life or to let him die. This case puts the court and their faith into direct conflict. The Henrys’ belief system prioritizes biblical teachings over Western medical practices despite their son’s tenuous health condition. Meanwhile, Fiona’s judicial responsibilities require that she make an ethical assessment of Adam’s situation from a legal standpoint. These dynamics capture the blurriness of morality, particularly in the context of rigid legal and religious systems. 


Deciding Adam’s fate asks Fiona to either discriminate against the Henrys’ faith to save him or support the Henrys’ faith and let him die; either choice threatens to complicate her moral code and sense of self, developing the theme of The Psychological Impact of Judicial Responsibility. The chapter ends with Fiona deciding to visit Adam at the hospital before making a ruling. This ambiguous closing acts as a cliffhanger—a literary device used to suspend the narrative tension, maintain the reader’s investment, and illustrate Fiona’s yet unresolved internal and professional conflict.


Fiona’s work on Adam’s case also overlaps with her ongoing marital challenges; these concurrent conflicts represent the theme of Resolving the Intersection of Personal and Professional Life in Fiona’s story. For example, when Fiona walks to work at the start of the chapter, her mind drifts in much the same way that it does in Chapter 1. When she first leaves the house, she actively tries to “ke[ep] her mind off her [marital] situation by playing to her inner ear a piece she had learned by heart” (45). The Bach piece is meant as a distraction from her personal conflicts but leads her right back to thoughts of Jack, “for she had learned it as a birthday present to him last April” (46). Throughout the walk, she continues to mull over the history of her and Jack’s relationship. Her physical mobility offers her the illusion of escape (a contrast with Chapter 1’s entrapment), while her obsessive line of thought conveys her continued entrenchment in her relational conflict. Fiona loves her husband, but Jack’s sexual frustration has unmoored Fiona’s emotional stability, which depends on a marital status quo that allows her to fully invest in her work. Her internal monologue throughout her walk to work reveals just how preoccupied she has been over the years. 


This chapter also highlights the other costs of Fiona’s prioritization of her profession. While Fiona’s work has brought her meaning and purpose, it has also compromised her former dreams. Her preoccupation with her childlessness, memories of her nieces and nephews, and the children whose cases she is ruling on underscores Fiona’s lingering longing to be a mother:


The music in her head had faded, but now came another old theme: self-blame. She was selfish, crabbed, drily ambitious. Pursuing her own ends, pretending to herself that her career was not in essence self-gratification, denying an existence to two or three warm and talented individuals. […] And so here was her punishment, to face this disaster alone, without sensible grown-up children, concerned and phoning, downing tools and rallying round for urgent kitchen-table conferences, talking sense to their stupid father, bringing him back (49).


Fiona is mourning the life she chose not to pursue when she was younger. She now pities herself for making this decision because Jack’s emotional and physical absence has made her loneliness impossible to ignore. She is forced to admit that her work has only been able to satisfy a portion of her identity; even her judicial responsibilities can’t dull her pain over Jack. The passage thus suggests that what the individual wants in her youth might not be what she wants later in life; her personal, moral, marital, and vocational needs might evolve over time and come into conflict with each other. These notions directly foreshadow the events of the next chapter, particularly as they regard Adam Henry’s youthful investment in his faith.

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