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Content Warning: This section of the guide includes discussion of sexual content, graphic violence, mental illness, and death.
A third-person narrator depicts the protagonist August’s story. August is living in Wells Slope, New Hampshire, when he becomes convinced his appendix has burst. At the Concord hospital, he meets a doctor named Chloe. She assures him he only has food poisoning. He returns to his cabin, where he’s staying for an arts fellowship.
A few weeks later, August runs into Chloe at a Concord bakery. They chat for a minute before August asks Chloe on a date. He’s only ever asked one person out, but he’s bored in Wells Slope and needs a change. Chloe agrees. A few days later, they meet up at August’s and take a walk. They spend the next month dating and having sex. Then at the farmers’ market one Saturday, Chloe breaks up with him, insisting she’s too busy with work.
Back at home, August calls his best friend Elizabeth. They’ve been friends since childhood and have kept up, although Elizabeth now lives in Laos. On the phone, Elizabeth tells August about a cobra she found in her house, and August tells Elizabeth about Chloe and his frustrations with the fellowship. Elizabeth suggests he get a job, insisting he’d be less depressed if he were busier. She then reveals that she’s returning to the States to see her boyfriend Emerson next week and would love to see August.
At the museum the next day, August discovers an old headline about a 1929 murder mystery in Fog River. Intrigued, he asks a museum employee for more information, but she doesn’t know much more.
August visits the bakery in preparation for Elizabeth’s arrival and runs into Chloe. She seems distressed and asks to hang out. August agrees although he knows Elizabeth will be annoyed.
That afternoon, August, Elizabeth, and Chloe gather at August’s house. Elizabeth teases August about his writing. Feeling defensive, he tells the women about the Fog River mystery. Both intrigued, they suggest visiting the logging cabin where the crime allegedly occurred.
On the drive, Elizabeth pesters Chloe and August about their relationship. Chloe insists that August must have had a crush on Elizabeth when they were growing up. August denies it, but she’s right. He remembers how heartbroken he was when Elizabeth started seeing Emerson. Chloe asserts that eventually Elizabeth’s opinion of August will change, and she’ll want to be with him.
The companions arrive at the designated spot in the woods. They stumble around in search of the cabin where the loggers died, only finding a saw stuck in a tree. Suddenly, Chloe disappears. While August and Elizabeth look for her, Elizabeth tells August that she thinks Emerson is going to propose and asks his opinion on what she should do. August doesn’t think she should marry Emerson but doesn’t say so. Elizabeth gets annoyed by his diplomatic response. Chloe reappears, telling them to come see the cabin she found. The space is rundown and eerie, and they decide to leave.
Seven years later, August and Elizabeth are married. One day, a magazine with August’s first published story arrives in the mail. August is horrified when Elizabeth brings it in from the box. He’s been working on the story for years but hasn’t told Elizabeth about it—it was inspired by that day in the woods with Elizabeth and Chloe. He’s convinced Elizabeth will be upset by how he represented her in the story. Before she leaves for work, she makes August promise he’ll read it aloud to her that night. August doesn’t know what to do. He imagines the conversation they’ll have when she hears the story, realizing that could make for another good story.
In “August in the Forest,” Shattuck explores The Ethics of Storytelling via the main character August’s relationship with writing. As a struggling artist, August feels frustrated by his inability to produce anything of significance during his time at the Wells Slope fellowship. His recurring allusions to boredom and depression, paired with his best friend Elizabeth’s assertions that “the world certainly [doesn’t] need more novelists” (131), convey August’s artistic disillusionment. Because he feels incapable of imagining something meaningful to write, he begins searching for the seeds of a story in his daily life. The way that he regards his relationship with Chloe, interacts with Elizabeth, and thinks about the Fog River mystery capture his desperate search for a story he believes is worth writing. While these behaviors are presented as normalized facets of the writer’s life, the way August responds when he realizes he can’t hide his published story from Elizabeth implies that he knows he’s taken advantage of Elizabeth to advance his career. August’s ongoing writerly struggles capture how storytelling might compel the writer to exploit others’ experiences for his own gain.
August’s internal monologues surrounding his relationships with Chloe and Elizabeth imply that he sees them as characters in the ongoing story of his life. For example, when he runs into Elizabeth at the bakery, he decides to ask her out because he’s looking for some excitement in his otherwise banal life. While he’s waiting at the bakery, the third-person narrator says, “August had a lot of time to think about Chloe, standing at his back, and about how lonely he was most of the day, how tired he was of his own thoughts. Well, he might never see her again” (119-20). August decides to ask Chloe on a date because he assumes their relationship will be fleeting. He isn’t a permanent Concord or Wells Slope resident, and so Chloe is inherently disposable. Being with her, even for a month, will offer him some distraction and make for a good story.
While Elizabeth has been more of a fixture in August’s life than Chloe, their friendship has been at a remove for years. Elizabeth lives in another country and has been involved with Emerson for some time. These circumstances convince August that it’s okay to use her in his published short story—a piece that seems to be his only chance at advancing his career. The “small but famous publication” where the story finally appears “could change a writer’s life” (147). Therefore, despite August’s fear of upsetting Elizabeth with “his unflattering portrait” of her (148), he lets the editor print the piece—choosing his work over his relationship. Elizabeth appears as disposable or utilitarian to August as Chloe, and the story’s end reiterates this notion. When August imagines reading her the piece, he doesn’t imagine apologizing to Elizabeth; instead, he imagines incorporating their resulting argument into another story. These dynamics convey the possible dangers of writing about other people or of translating another person’s story into your own words. Shattuck is asking who is allowed to tell whose stories, and where the line between art and exploitation falls.



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