53 pages • 1-hour read
Chris BohjalianA 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: This section of the guide includes discussion of death, graphic violence, animal death, antigay bias, death by suicide, racism, pregnancy loss, and sexual content.
Felix confirms that Reggie has a pocketknife. Reggie speaks to Carmen, who takes off her scarf. Felix recalls the scarf that Joseph Cotten used to strangle Marilyn Monroe in Niagara. Felix is afraid the other two left him out of their discussion because they think he is a coward. Felix recalls their picnic the previous day, when Charlie talked about elephant graveyards. Charlie said that he now goes for the old bulls that have been kicked out of their herd. Charlie also talked about an old lion he collected once, which he described himself as having saved from hyenas, saying that it had been a hard shot to take. Charlie then shared a fable describing why the Maasai call the hyenas limpers and said that to scavenge is their nature. In return, Reggie told a story about softshell turtles his friends adopted in Okinawa; the turtles were later killed by a mortar shell, along with his friends. Felix thought that his sister, who died in a car crash, must have been scared in the last moments of her life.
Carmen wraps her scarf around the driver’s neck and yanks. Reggie then stabs the guard behind him, and Felix lunges for the guard’s rifle. The Land Rover hits a tree and flips over. The rifle goes off, shooting Felix in the chest. He feels a wave of terror but thinks, “I have died like one of the lions of Hollywood” (131).
Reggie comforts Carmen as she cries and recalls comforting his fellow soldiers in Okinawa. Carmen has a black eye from the crash. She wants to bury the bodies, but Reggie doesn’t think that is feasible. He worries about their chances of survival. He wonders which way they can head and thinks about the violence in the Congo: the Simbas fighting for independence and the white Europeans who have exploited African labor for their mines. Moreover, the landscape is full of predators.
Reggie is attracted to men but has never been public about his relationships. He was involved with another veteran, Luke, who had been wounded during the war. Reggie was the one who found Luke after he died by suicide. He had hoped never to see another dead body after Okinawa.
Reggie finds what provisions he can in the Land Rover and learns that their kidnappers have no IDs. He thinks Felix’s expression is one of terror. Reggie hurt his knee, and as they walk away, he is limping, just like the hyenas that are watching them.
Margie has been given food and was allowed to relieve herself but is now again tied in her hut. She worries that one of her cuts will become infected. A new man arrives and enters her tent with a flashlight. He is blond, blue-eyed, and good-looking but for a broken nose. He asks about her welfare and that of the child, and he admits that this is a kidnapping. Margie recalls waking in her tent that morning and watching wildebeest grazing. When Billy woke, they talked about enjoying the safari. Margie wondered if Billy ever felt diminished by the fame of his older sister, though he never appeared to.
The captor continues to converse with Margie, asking why Katie changed her name from Stepanov to Barstow. He tells her not to be scared—that his men only killed the rangers and Juma because they thought the other men were going to shoot. Margie asks if they have just kidnapped her friends for the money, and he retorts, “You’re American. For Americans, it’s always about the money. It’s only about the money” (152). She asks for something for her cuts. When he leaves, Margie begins to experience cramps and bleeding.
The opening excerpt from Movie Star Confidential notes that Terrance Dutton was seen having an intimate dinner with actress Dorothy Dandridge.
Terrance considers whether he can disarm the guard escorting him to relieve himself. He heard a truck leaving with Margie. He recalls Charlie saying, “[W]hen you had your one shot in the Serengeti, you damn well better take it” (156).
Terrance recalls meeting Katie at the airport in Paris. He noticed that the French seemed to care less about him being Black, though he did recall France’s relations with Algeria. As Katie greeted him, Terrance thought that, while audiences might now see a white woman kissing a Black man as salacious, the same action would have gotten his grandfather killed. Terrance talked with Peter Merrick and was taken aback when Peter described Patton as a “great white hunter” (159). Terrance noted that there are no great Black hunters, as “the colonials (Peter’s word) had had their boots on the necks of the native Blacks for centuries” (160). Peter conjectured that Patton feels diminished leading photo safaris rather than hunting expeditions. Peter also said that Patton wouldn’t mistake Terrance for a porter, and Terrance decided not to challenge him for this insult. He sensed that Peter viewed David with disdain for depending on Katie for money; among other things, Peter noted that David’s gallery was operating at a loss. Peter wondered what would happen down the road, saying that no man wants to be a failure in his wife’s eyes.
In the present, Terrance throws himself onto the guard and gets his gun. He hears another guard behind him.
The Hollywood Reporter notes the painting in David’s gallery by the Russian defector and wonders if she could be a spy.
David has been tied in a prone position. He thinks of his father and wonders if Katie is okay. David recalls that while he and Katie were engaged, he felt jealous that she was spending time with the British actor Michael Caine. When he first started dating Katie, he slept with Nina Procenko, the Russian defector who let him sell one of her paintings, and he was glad Katie never found out. When a waitress at a diner flirted with him, David told himself that he shouldn’t sleep with her, but he did. Later, he was blackmailed with pictures of their liaison.
Now, David hears a gunshot and realizes that they all might die here.
Reggie helps Carmen climb into the lower branch of a dead baobab tree but is too injured to climb up with her. Reggie teases Carmen about the animal facts she has learned. Carmen feels grief when she thinks of Felix; though she still compares herself to Margot Macomber of the Hemingway story, she loved Felix. She recalls a photo shoot she did with Shirley MacLaine to advertise their movie. Carmen had learned to be careful of where she employed her sassiness and made an effort to soothe the ego of the director of the shoot. She tries not to fall asleep in the tree and sees a shooting star, which looks to her like the answer to a prayer. She whispers to Reggie, but he doesn’t answer, and she is afraid that she is alone.
As the novel progresses, it becomes clearer that the layering of multiple narrative strands and textual formats mirrors the complexity of the characters’ motivations and conflicts. The fictional excerpts from entertainment magazines introduce key pieces of information or hint at conflicts that will bear on the coming chapter—for instance, a write-up about Nina’s painting segues into the reveal of David’s sexual relationship with her. Meanwhile, the structure of each chapter continues to follow the format of introducing a problem that the narrator is encountering in the current moment and then pausing for a flashback that provides emotional and thematic background. These flashbacks contextualize key interpersonal conflicts and trace the broader social context for a character’s situation. This adds texture and background to the dramatic narrative of the present moment, which turns on the kidnapping.
The Motives for Human Violence and Cruelty remain a central concern as the situation worsens. While one of the kidnappers explains away the murders of the rangers and Juma as unfortunate, insisting that he does not wish to take any innocent lives, Felix’s death and Margie’s pregnancy loss show that their lives are at risk. While the captor admits that the motive for the kidnapping is ransom, as the Americans are worth a great deal of money, he also hints at a deeper motive, which builds suspense regarding the reasons for the attack.
Meanwhile, the novel extends its exploration of The Fragility of Intimate Relationships to David and Katie’s relationship. David needs money for his gallery, and unlike Billy, who is comfortable with Katie’s success and can enjoy her hospitality without a sense of obligation, David believes that asking Katie for money is emasculating. Peter similarly drops hints that this financial inequality is bound to cause tensions in the relationship. A further reveal shows how precarious the relationship already is; Katie is unaware that David has been having sexual relationships with other women throughout their time together. At this point in the novel, David’s mistakes appear limited to these indiscretions: He appears to be a victim as much as the others, particularly as hints continue that his father’s involvement with the CIA might be a motive for the attack. Thus, when Katie notes that David seems reluctant to fight back against their captors, she attributes it to caution, if not cowardice. Only later does it emerge that David’s reactions indicate his complicity in the kidnapping, which becomes the most conclusive evidence of how little one can trust even those to whom one is closest.
Carmen and Felix offer a different portrait of contempt within a marriage. Carmen continues to compare herself to Margot Macomber from Hemingway’s short story “The Short Happy Life of Francis Macomber.” Hemingway’s story, while set on a safari in Africa, is really a portrait of cowardice, bravery, and marital betrayal. At the end of the story, Margot shoots her husband, Francis, while he is being charged by a wounded buffalo. Their guide says that he’ll report it as an accident, but the implication is that Margot murdered her husband deliberately. Carmen’s allusion thus reveals her own sense of guilt: She was contemptuous of Felix for being afraid, and his death was a direct result of her and Reggie’s plan to attack their captors. However, Carmen’s own actions do not strike her as bravery but rather as a bare attempt at securing freedom. The results don’t necessarily improve her chances of survival, but at least she is no longer a captive.
This concern with freedom continues to echo references to the broader sociocultural and political landscape of Africa at the time, developing the theme of The Legacy of Colonialism. One recurring source of tension manifests in the character of Charlie Patton, portrayed as a relic of the colonial age who is not adjusting well now that the systems of white oppression are being challenged and dismantled. This dismantling is the bigger picture that their Russian captor tells Margie that the Americans, as tourists, don’t see. Indeed, Billy admits that he doesn’t understand the different sides of the Simba revolution; the Americans, as tourists, don’t feel personally invested in the disputes. Certainly, they don’t recognize how neoimperialist impulses—in particular, the Western investment in capitalist economies and the Soviet investment in communism—are playing out in the Congo. The Russian kidnapping of Americans in the Serengeti is thus another example of white-majority countries using African countries as a stage for their conflicts, at great cost to the Indigenous residents. Terrance’s observations about the term “great white hunter” frame it as a microcosm of this broader dynamic (159): There is irony in the fact that, even in Africa, Black people are erased.



Unlock all 53 pages of this Study Guide
Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.