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Content Warning: This section of the guide includes discussion of illness and death by suicide.
A week later, Fiona leaves Leadman Hall and returns to London. Her mind drifts to her and Adam’s kiss on the way home, as it has throughout the week. Sometimes she remembers it as only a moment, while other times she extends it in her mind. She feels ashamed, realizing that anyone could have walked in on them and discovered her indiscretion. To dismiss the thoughts, she calls Jack and suggests that they go out for dinner. The plans lift her spirits.
Fiona and Jack go out together but stick to “the safer topics” throughout their meal (183). Finally, Jack starts talking about his work. Fiona’s mind drifts, and she realizes that it’s time to go home. Over the following weeks, Fiona and Jack’s conflict dissipates, and they start spending more time together.
Meanwhile, Fiona prepares for her upcoming Christmas Revels. She and Mark always perform in the holiday concert, and Fiona makes time to practice her piano pieces.
One day, Fiona receives a poem from Adam in the mail. It doesn’t have a letter attached, and she waits two days to open it. The poem is a ballad about Adam’s recent near-death and religious experiences. It references Fiona, likening her to a fish who saves his life, and incorporates Christian imagery. However, it ends ambiguously, with Fiona becoming Satan. Fiona tries to make out Adam’s cryptic scribbles at the bottom of the page but ultimately puts the letter away. She comforts herself that Adam will go to college, grow up, and forget her.
Fiona and Mark get together to practice for the concert in a basement room under his chambers. Fiona tries to focus on their songs, but Mark wants to tell her about a case he’s been working on. Four boys were arrested for fighting outside of a pub, but only one of the boys, Wayne Gallagher, was held legally responsible. Mark reviewed his record and the surveillance video of the incident. He didn’t think Wayne was to blame and was, rather, the victim of a larger class conflict. In short, Mark tells Fiona that the boys shouldn’t have been detained at all because they were four consenting adults in an innocuous conflict. Fiona finally steers Mark back to their practice, and they “forg[e]t about the law” for 45 minutes (198).
The day of the concert arrives, and Fiona gets ready for the performance upstairs. She hears Jack put on a Keith Jarrett record in the sitting room below. It’s one they used to enjoy at the start of their relationship. She remembers their early days together and Jack introducing her to jazz.
She finishes getting ready and joins Jack downstairs. He’s arranged a charcuterie board and poured some champagne. They have a glass while discussing their relationship. Jack suggests that they try to repair their dynamic before it’s too late. They agree to start enjoying life together again, and then they drink and kiss. After the kiss, they get ready to leave, promising to spend the evening together.
Fiona and Jack report to the Great Hall. Fiona greets her friends before joining Mark and going on stage. At the piano, she worries that she’s drunk too much but dismisses the thought. She plays well. Throughout the performance, her mind drifts between thoughts. At the end of each song, the audience bursts into applause. However, when they play the final song, “Down by the Salley Gardens,” Fiona has the sense that something terrible is about to happen. The feeling only grows when she finishes to a standing ovation.
After the concert, Fiona races out of the hall without greeting anyone. She walks home in the rain, thinking about Marina. As soon as she gets home, she calls Marina, who confirms that Adam died four weeks earlier. Fiona hangs up and stands still, unable to move. She wishes someone had called her but then remembers the poem. She pulls it out again and studies the lines for clues. She deciphers the final lines, which suggest that Adam returned to his parents and their faith, believing he needed to die by suicide to repay God for betraying him.
Jack returns home and wants to renew their dynamic from earlier in the evening. Fiona can’t channel that energy or the energy from the concert. Finally, she tells Jack about Adam, even admitting their kiss. He helps her dry off and get into bed.
She drifts off to sleep and wakes up with Jack lying next to her and watching her. She tells him what happened to Adam the month prior: His leukemia returned, he refused the next transfusion, and he died. She believes it was death by suicide. She asks Jack if he’ll still love her after hearing the entire story about Adam. He promises he will, and she launches into a full account.
The final chapter of The Children Act leads the narrative through its climax, denouement, and resolution. These final narrative sequences also underscore the themes of Resolving the Intersection of Personal and Professional Life and The Psychological Impact of Judicial Responsibility. Ever since ruling on Adam Henry’s case, Fiona has tried not to think about Adam, a way of attempting to maintain the boundaries between her personal and professional spheres. However, Adam continues to contact her in the months following his case, epistolary and poetic intrusions which trouble Fiona’s mind, heart, and spirit. As long as Adam reaches out to her on a personal level, Fiona can’t fully dissociate from his case. Since becoming a High Court judge, she’s had to compartmentalize her personal identity from her judicial identity. Doing so is Fiona’s way of convincing herself that her rulings exist in a vacuum: Her judicial choices are made in the name of the subject’s welfare, and their consequences shouldn’t concern her. Adam disrupts this carefully constructed defense mechanism and reveals the blur between Fiona’s allegedly distinct personal and professional versions of self.
Adam’s final message to Fiona comes in the form of a poetic ballad, a conveyance that ultimately challenges Fiona to acknowledge her part in Adam’s fate. When she originally rules on Adam’s case, she assures herself that she’s not only acted in the name of justice but that she’s fulfilled both her legal and moral obligations. For her own self-preservation, Fiona has to believe that her role in Adam’s life has been in the name of his well-being. However, when she receives the ballad, she is forced to accept the full ramifications of Adam’s life after treatment and outside the church. She ultimately doesn’t respond and instead embraces her age-old defense mechanism: She puts Adam out of her mind to avoid acknowledging the actual consequences of her ruling: “Adam Henry,” she tells herself as she tucks his poem “back into its envelope” and closes it into her nightstand drawer, “[is] likely to succeed brilliantly at his postponed exams and go to a good university. She [will] fade in his thoughts, become a minor figure in the progress of his sentimental education” (189). Fiona voids her own relevance to Adam’s story so that she doesn’t have to assume the moral obligation associated with his fate. The image of her putting the poem away mirrors Fiona’s attempt to bury thoughts and worries about Adam. While she isn’t actively thinking about Adam during the fall and winter, he is omnipresent in her life through his poem. The image of her pulling the poem back out at the end of the chapter shows that she is confronting his fate and her role in it.
Fiona’s reaction to Adam’s death reiterates the profound effect that her work responsibilities have on her personal life, further exploring the psychological impact of judicial responsibility. Fiona hasn’t wanted to believe that she owes Adam anything outside the parameters of her judicial responsibilities to him. However, when she discovers that he died after refusing another blood transfusion, she realizes that she has not fully acted in the name of Adam’s welfare. She saved his life by ruling in the hospital’s favor months prior, fulfilling her professional obligations to him, but she shirked her personal responsibilities to him thereafter. Fiona acknowledges that “[i]t was her guilt that had kept her away” (211); after the kiss, Fiona refused Adam help to protect herself. Even while compartmentalizing her work and home lives, she has been acting out of fear of ruining her professional reputation. What she does in the courtroom does matter, but she discovers that the meaning of her work is greater than she originally imagined. Her subdued state at the novel’s end shows how heavily her decisions weigh on her. She’s not in the courtroom or surrounded by her colleagues; she’s lying in bed at home with her husband, illustrating how her professional obligations have become a part of her private sphere.
The novel ends ambiguously, lending the narrative a cyclical structure. In the final scene, Fiona begins to tell Jack the full story, and the start of her oral account makes a formal gesture to the start of The Children Act. Fiona is revisiting the same tale that the third-person narrator has just told. This elliptical ordering of events enacts Fiona’s sustained entrenchment in the legal and moral conflicts associated with Adam’s case. Because she has yet to reconcile her role in Adam’s fate, her story doesn’t get a neat, resolved ending.



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