The Children Act

by Ian McEwan

Overview

Notes From Your Bookseller

Fiona Maye is a renowned, fiercely intelligent High Court Judge whose professional success contradicts her rapidly crumbling marriage. When her husband’s sudden departure leaves her questioning the life she’s built for herself, she throws herself into the case of a teen boy whose parents are refusing a life-saving medical treatment due to their religious beliefs. This truly heart-wrenching and powerful novel is not your typical courtroom drama, but a deeply sensitive and compelling character driven story you won’t want to miss.

A brilliant, emotionally wrenching novel from the Booker Prize winner and bestselling author of Atonement about a leading High Court judge who must resolve an urgent case—as well as her crumbling marriage.

Fiona Maye is a leading High Court judge who presides over cases in the family division. She is renowned for her fierce intelligence, exactitude, and sensitivity. But her professional success belies private sorrow and domestic strife. There is the lingering regret of her childlessness, and now her marriage of thirty years is in crisis.

At the same time, she is called on to try an urgent case: Adam, a beautiful seventeen-year-old boy, is refusing for religious reasons the medical treatment that could save his life, and his devout parents echo his wishes. Time is running out. Should the secular court overrule sincerely expressed faith? In the course of reaching a decision, Fiona visits Adam in the hospital—an encounter that stirs long-buried feelings in her and powerful new emotions in the boy. Her judgment has momentous consequences for them both.

Don’t miss Ian McEwan’s new novel, Lessons.

Product Details

ISBN-13:	9781101872871
Publisher:	Knopf Doubleday Publishing Group
Publication date:	04/28/2015
Pages:	240
Sales rank:	186,117
Product dimensions:	5.16(w) x 7.93(h) x 0.64(d)

About the Author

IAN MCEWAN is the critically acclaimed author of seventeen novels and two short story collections. His first published work, a collection of short stories, First Love, Last Rites, won the Somerset Maugham Award. His novels include The Child in Time, which won the 1987 Whitbread Novel of the Year Award; The Cement Garden; Enduring Love; Amsterdam, which won the 1998 Booker Prize; Atonement; Saturday; On Chesil Beach; Solar; Sweet Tooth; The Children Act; Nutshell; and Machines Like Me, which was a number-one bestseller. Atonement, Enduring Love, The Children Act and On Chesil Beach have all been adapted for the big screen.

Hometown:

Oxford, England

Date of Birth:

June 21, 1948

Place of Birth:

Aldershot, England

Education:

B.A., University of Sussex, 1970; M.A., University of East Anglia, 1971

Website:

http://www.ianmcewan.com

Read an Excerpt

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(Continues…)

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Excerpted from "The Children Act"
by .
Copyright © 2015 Ian McEwan.
Excerpted by permission of Knopf Doubleday Publishing Group.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Reading Group Guide

Throughout his award-winning career, literary master Ian McEwan has used the art of fiction to deftly illuminate the human experience. In The Children Act, he raises compelling questions about the role of religion in the modern world, in a mesmerizing novel that also probes the faith we place in one another. Fiona Maye is a leading High Court judge, called upon to try an urgent case: for religious reasons, a beautiful seventeen-year-old boy, Adam, is refusing the medical treatment that could save his life, and his devout parents echo his wishes. In the course of reaching a decision, Fiona visits Adam in the hospital. The encounter stirs long-buried feelings as she confronts the lingering regret of her childlessness, and the fact that her thirty-year marriage is in crisis. Her judgment and its aftermath will have momentous consequences for her future as well as Adam’s.
 
We hope that the following topics will enrich your reading group’s discussion.

1. How did The Children Act affect your perception of family courts? What makes it so challenging for parents and the courts alike to follow the deceptively simple mandate that “the child’s welfare shall be the . . . paramount consideration”?

2. How would you react if your spouse made a proposal like Jack’s? Is Jack’s interest in Melanie purely sexual? When he asserts that couples in long marriages lose passion, is he right?

3. How would you have ruled in the first case described in The Children Act, regarding the education of Rachel and Nora Bernstein? Does Fiona approach religious freedom the same way in her ruling for Adam’s case?

4. How did your impression of Adam and his parents shift throughout the novel? How does his childhood exposure to religion compare to your own?

5. At the heart of Adam’s testimony is a definition of scripture, secured by faith in his religious leaders to interpret scripture perfectly. How should the government and the court system consider religious texts?

6. Both Jack and Adam are drawn to romantic ideals, albeit at opposite stages of life. Are their dreams reckless or simply passionate?

7. As Fiona reflects on her life, which choices bring her solace? How does she reconcile her childlessness with her notions of the ideal woman? How does her personal history affect her decisions in court?

8. Discuss Fiona’s sojourn to Newcastle. What is she pursuing on that journey? What is Adam pursuing when he follows her there?

9. What does “The Ballad of Adam Henry” (page 187) reveal about the nature of youth, and the nature of mortality?

10. What is Fiona able to experience through music that she can’t access any other way? For Mark (possibly with a new lover to impress), and for the Gray’s Inn community, what is the significance of the Great Hall concerts?

11. In the novel’s closing scene, what transformations do Jack and Fiona undergo?

12. How does The Children Act enhance your experience of Ian McEwan’s previous novels? What is unique about the way his characters approach moral dilemmas?

13. Explore a few of the recordings of Benjamin Britten’s setting for “Down by the Salley Gardens” that are available online. How do the melody and the verses affect you? In your experience, what does it mean to take love and life “easy”?

Editorial Reviews

One of the Best Books of the Year: The Washington Post, NPR, Vogue, BookRiot

“Fantastically pleasurable.... Anything we want a novelist to do, he can do.... Unsurpassable.” —Chicago Tribune

“A svelte novel as crisp and spotless as a priest’s collar.... Another notable volume from one of the finest writers alive.” —The Washington Post

“Masterful.... Begins with the briskness of a legal brief written by a brilliant mind, and concludes with a gracefulness found in the work of few other writers.” —Meg Wolitzer, NPR
 
“Powerful.... Convincingly presents a complex woman in all her nuances.... A paragon becomes all too human in this aching tale.” —New York Daily News

“The first thing to do about Ian McEwan is stipulate his mastery. Anything we want a novelist to do, he can do, has done. His books are fantastically pleasurable. Their plots click forward, the characters lifted into real being by his gliding, edgeless, observant, devastating prose—his faultless prose.... Every novelistic mode is at his command, from the dark fabulism of The Child in Time to the vibrant sweep of Atonement to the modest but beautiful realism of his more recent work, On Chesil Beach, Saturday, Solar.” —Chicago Tribune

 “Highly subtle and page-turningly dramatic.... Only a master could manage, in barely over 200 pages, to engage so many ideas, leaving nothing neatly answered.” —The Boston Globe

“It’s a joy to welcome The Children Act.... [The novel’s] sense of life-and-death urgency never wavers.... Profound.... You would have to go back to Saturday or Atonement to find scenes of equivalent intensity and emotional investment.” —The Wall Street Journal

“McEwan here crafts a taut morality tale in crystalline sentences.” —O, The Oprah Magazine

“A quietly exhilarating book.... Reveals an uncanny genius for plucking a resonant subject from the pages of lifestyle journalism and teasing it out into full scenes and then pressing them hard for their larger, enduring meanings.” —Los Angeles Times

 “Powerful.... Heartbreaking and profound.... Skillfully juxtaposes the dilemmas of ordinary life and tabloid-ready controversy.” —People

“Smart and elegant.... Reminds us just how messy life can be and how the justice system, despite the best of intentions and the best of minds, doesn’t always deliver justice.” —USA Today

“A finely written, engaging read.... Poignant, challenging, and lyrical.” —The Huffington Post

“Haunting.... [A] brief but substantial addition to the author’s oeuvre.” —Entertainment Weekly, A-

“One of the most extraordinary, powerful, moving reading experiences of my life.... An utterly remarkable novel, delicately balanced, perfectly crafted, beautifully written.” —Alberto Manguel, author of A History of Reading

“Captivating.... Achingly romantic.... Entertain[s] some messy dualities: the limits of the law and the expansiveness of humanity, youth and age, guilt and innocence, the confines of religion and the boundlessness of free thought.” —The Houston Chronicle

“Fascinatingly complex and finally heartbreaking.... A quite beautiful work of fiction.” —The Times (London)

“Masterly.... As one begins an Ian McEwan novel—this is his 13th—one feels an immediate pleasure in returning to prose of uncommon clarity, unshowiness and control.... The best novel he has written since On Chesil Beach.” —The Guardian (London)

“As ever, McEwan achieves the rich, fine-grained realistic texture that makes his novels, sentence by sentence, a pleasure to read.” —The London Review of Books

“Swift and compelling, asking to be read in a single sitting.... So skillfully composed and fluently performed, it’s a pleasure from start to finish, one not to be interrupted.’ —Evening Standard (London)

From the Publisher

★ 07/07/2014
The 1989 Children Act made a child’s welfare the top priority of English courts—easier said than done, given the complexities of modern life and the pervasiveness of human weakness, as Family Court Judge Fiona Maye discovers in McEwan’s 13th novel (after Sweet Tooth). Approaching 60, at the peak of her career, Fiona has a reputation for well-written, well-reasoned decisions. She is, in fact, more comfortable with cool judgment than her husband’s pleas for passion. While he pursues a 28-year-old statistician, Fiona focuses on casework, especially a hospital petition to overrule two Jehovah’s Witnesses who refuse blood transfusions for Adam, their 17-year-old son who’s dying of leukemia. Adam agrees with their decision. Fiona visits Adam in the hospital, where she finds him writing poetry and studying violin. Childless Fiona shares a musical moment with the boy, then rules in the hospital’s favor. Adam’s ensuing rebellion against his parents, break with religion, and passionate devotion to Fiona culminate in a disturbing face-to-face encounter that calls into question what constitutes a child’s welfare and who best represents it. As in Atonement, what doesn’t happen has the power to destroy; as in Amsterdam, McEwan probes the dread beneath civilized society. In spare prose, he examines cases, people, and situations, to reveal anger, sorrow, shame, impulse, and yearning. He rejects religious dogma that lacks compassion, but scrutinizes secular morality as well. Readers may dispute his most pessimistic inferences, but few will deny McEwan his place among the best of Britain’s living novelists. (Sept.)

Publishers Weekly

★ 2014-07-23
In the late summer of 2012, a British judge faces a complex case while dealing with her husband's infidelity in this thoughtful, well-wrought novel. Fiona Maye, at 59, has just learned of an awful crack in her marriage when she must rule on the opposing medical and religious interests surrounding a 17-year-old boy who will likely die without blood transfusions. The cancer patient, weeks shy of the age when he could speak for himself, has embraced his parents' deep faith as Jehovah's Witnesses and their abhorrence of letting what the Bible deems a pollutant enter his body. The scenes before the bench and at the boy's hospital bedside are taut and intelligent, like the best courtroom dramas. The ruling produces two intriguing twists that, among other things, suggest a telling allusion to James Joyce's 17-year-old Michael Furey in "The Dead." Meanwhile, McEwan (Sweet Tooth, 2012, etc.), in a rich character study that begs for a James Ivory film, shows Fiona reckoning with the doubt, depression and temporary triumphs of the betrayed—like an almost Elizabethan digression on changing the locks of their flat—not to mention guilt at stressing over her career and forgoing children. As Fiona thinks of a case: "All this sorrow had common themes, there was a human sameness to it, but it continued to fascinate her." Also running through the book is a musical theme, literal and verbal, in which Fiona escapes the legal world and "the subdued drama of her half-life with Jack" to play solo and in duets. McEwan, always a smart, engaging writer, here takes more than one familiar situation and creates at every turn something new and emotionally rewarding in a way he hasn't done so well since On Chesil Beach (2007).

Kirkus Reviews