56 pages • 1 hour read
Ivan DoigA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: The source text includes anti-fat bias as well as outdated and insensitive terminology to refer to Indigenous Americans, people without permanent homes, and people with disabilities. The text also features the theft of Indigenous artifacts by non-Indigenous people.
Last Bus to Wisdom is a Bildungsroman, a coming-of-age story. The novel is an unusual example of this genre in two respects. First, rather than following the main character, Donal, over a period of months or years, the author focuses on a single, pivotal summer in which the protagonist faces a series of challenges that transform his self-image and core beliefs. Early in the trip, Donal confesses that—twice in one day—he realizes he is not up to facing the world on his own. By the end of his two lengthy journeys, however, he has earned a place for himself, and he works toward protecting and providing for the very people who have cared for him. Second, while the main character is a tween boy, the book contains a number of adult references. Donal, who is raised around ranch hands and dropped into a camp of migrant workers, finds himself exposed to callous speech and innuendos. He struggles to learn what he can and cannot say in polite company. While the main character is chronologically little more than a child, the novel is not a children’s book. Instead, the author intends to remind adults of transitional events and stages in their own lives as they moved from childhood to adulthood.
Along Donal’s trek from Montana to Wisconsin and back, Doig records many encounters with previously unknown individuals. Each of these exchanges serves as a step on a staircase leading, in the symbolic sense of the title, toward wisdom. From each experience, Donal gleans new lessons, enabling him to move forward with greater insight and confidence. These lessons, as the author intends, are not all wholesome, but rather fall into the category of life skills—or even survival skills. For example, the first time Donal encounters Harv, the jail escape artist, he considers him simply an oddity who leaves a curious inscription in his memory book. The second time they meet in the migrant camp, Donal quickly connects with him, introducing Herman and announcing that the two of them are also on the run from police and would be grateful for any wisdom Harv can offer.
Donal’s coming of age is marked by his ability to accept life’s complexities, particularly that multiple things can be true simultaneously. At one point, Donal mockingly quotes the proverb that a wise man is one who can hold two distinct, seemingly contradictory statements in his mind. In characteristic fashion, the boy remarks that trying this only makes his head hurt. By the conclusion of the narrative, however, Donal has indeed embraced many contradictory elements in his life. For instance, he recognizes that the obsidian arrowhead he took from Williamson might legally belong to the property owner, but Donal believes he has equal claim to it as its finder. His dearest companion is in fact an unauthorized immigrant considered an “enemy” of the state, but Donal would do anything to preserve Herman’s liberty and anonymity. Donal also yearns to be with his grandmother in the small community of Glasgow, while his heart wants more than anything to stay on the farm with his role model Rags.
Despite remaining 11-and-a-half for the entirety of the narrative, Donal experiences a lifetime of changes and learning that propel him toward real wisdom.
Last Bus to Wisdom was published in August 2015, four months after Doig died of multiple myeloma. In that he kept a precise journal of his condition and treatments for the nine years following his diagnosis, Doig knew that this book would likely be his last. Given that his protagonist shares Doig’s birth year as well as details from the author’s upbringing—such as being raised by his grandmother following his mother’s death—Doig posits Donal as a literary version of himself. Notably, the author’s final adventure ride for his childhood self follows in the tradition of other literary travelers.
As some reviewers have noted, Last Bus to Wisdom shares numerous parallels with Mark Twain’s 1884 coming-of-age novel The Adventures of Huckleberry Finn. The two protagonists are similar in age and temperament, sharing a distaste for the manners and standards of propriety the adults around them attempt to impose. Additionally, there are multiple plotline parallels. Just as Donal invents a new identity for himself, Huck Finn fakes his own death so that he can completely disappear. Importantly, each of the boys connects with a beloved companion whom authorities consider a pariah: Huck travels with Jim, a fugitive from slavery, and Donal rides with Herman, who is sought by the FBI as an “enemy alien” due to his German citizenship status and unauthorized entry into the United States. In each case, the boys rise to the occasion of saving their friend and delivering them to a safe haven. While Huck’s backdrop is his raft on the Mississippi River, Donal’s is the 1950s highway system, with the Greyhound bus as his boat.
Doig also includes another clear literary reference. The narrative begins with an epigraph from author Jack Kerouac’s 1957 novel On the Road, in which Kerouac describes the traveling life as one in which the characters a person meets in a day recede quickly into the past and are inevitably replaced by other unique souls the next day. This reference foreshadows the role—however fleeting—fellow travelers have in Donal’s journey, though the autographs and inscriptions he collects prevents their influence from receding altogether. Furthermore, Doig has Donal meet Jack Kerouac on his bus ride west, as Kerouac and a companion, Sweet Adeline, travel toward California.
Doig intends readers to understand that the roadway for Donal—like Kerouac’s characters—is symbolic of life as a journey. The same holds true for the Mississippi River with Twain’s characters. The trips taken by Kerouac, Huck Finn, and Donal introduce readers to multiple, distinctive individuals, each of whom leaves an indelible mark upon the traveler.
The capriciousness of good fortune is a recurring theme in the narrative. Virtually every significant character makes some comment about the nature, necessity, and unpredictability of good luck. Herman, the survivor of World War I and the sinking of an ore ship during a November storm that claimed one eye, stresses the necessity of welcoming good fortune without question when it presents itself: “Luck is not to be sniffled at, wherever it comes from” (178). Donal eventually realizes that what may appear to be misfortune may hold within itself the seeds of good fortune: “It is said a blessing sometimes comes in disguise, but if what happened in the middle of that week was meant to be any kind of turn of luck, it made itself ugly beyond all recognition when it came” (212). Notably, he says this just before the turn of events that sees him kicked out of Aunt Kate’s home: While the situation is initially incomprehensible to Donal, it also facilitates his adventure with Herman.
As the narrative progresses, the peril Donal and Herman face increases, and their control over their circumstances diminishes, so they resort to superstition in the hope of improving their luck. Donal, for instance, moves his cherished obsidian arrowhead from his suitcase to his pocket and later, upon the advice of Louie Slewfoot, a member of the Blackfoot nation, to a pouch around his neck. In crisis moments, Herman tells Donal to rub the arrowhead and to call upon the spirits of the Indigenous people who walked the land in prior ages. While this is a culturally insensitive and reductive representation of Indigenous beliefs—particularly by non-Indigenous people—in virtually every case where Donal calls for good luck, it arrives. Soon thereafter, however, even graver crises confront them.
In the final chapters, Donal and Herman find themselves in the employ and within the good graces of Donal’s hero, Rags, who not only knows how to handle enraged horses but also injudicious lawmen. Having prevented bloodshed and the arrest of the fugitives Donal and Herman, Rags demands that they explain their predicament. When they conclude, after some consideration, Rags makes a final pronouncement on their journey—that it is better to be lucky than smart—thus closing the door on the capricious events that brought the two to his ranch.
However, Doig’s ultimate insight about luck—which Donal harkens back to throughout—comes in the inscription penned by the waitress Letty, who pointed out the capriciousness of luck and wrote: “[T]he wrinkles in the map, explorers know, Smooth out like magic at the end of where we go” (43). Despite the misfortunes Donal experiences in just three short months, he ends up with a choice to make between two circumstance he finds equally comforting—staying at Rags’s ranch or returning to Gram—suggesting that things indeed “smooth out” in the end.
By Ivan Doig