53 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of death, child abuse, substance use, bullying, racism, graphic violence, mental illness, and animal death.
An unidentified narrator reflects on a safari she went on in 1964 where several participants died. The speaker reflects on whether the bones of the missing will be found and notes that they died in the Olduvai Gorge, not far from where Mary Leakey discovered Nutcracker Man, who lived 2 million years ago. The narrator says, “This story was never about Western, privileged tourists or local Maasai or Tanzanians. It was never about rich or poor, Americans or Africans” (3). All of them were merely concerned with survival and seeing the sun rise one more time.
An excerpt from The Hollywood Reporter reports on the wedding of actress Katie Barstow to gallery owner David Hill and lists those accompanying them on a safari for their honeymoon. The reporter notes that the group has nicknamed themselves “the Lions of Hollywood” and acknowledges Katie as the lioness of the pride (7).
Four days into their safari, Katie is watching giraffes at the watering hole. It is morning, and she anticipates that their group of nine will climb into the Land Rovers and take the day to drive to the next camp, pausing to watch the animals of the Serengeti. She reflects on a lioness with cubs that they saw the day before. She and David speak of the ranch they bought—Katie paid for it, as she earns more money than he does—and she wonders if he will want children. She doesn’t. Katie observes her brother, Billy, and reflects on how he was abused by their parents, who were involved with theater in New York City. Their father, Roman Stepanov, died a year ago, but he was less a father figure to Katie than her publicist, Reggie Stout.
Katie is enjoying the safari, with its crew of men from Kenya and Tanzania. Juma Sykes, their older guide, educates them on the animals they see. Their outfitter, Charlie Patton, is one of the last “great white hunters” but now leads photo safaris (13). David thanks Katie for bringing him; she paid for everyone to come. David was friends with Billy back in New York, and Katie reconnected with him when he moved to Los Angeles. They hear gunshots in the camp.
Back at the camp, David Hill witnesses the arrival of white men carrying guns.
A flashback reveals his history with Katie. The Stepanovs, Katie’s family, lived above the Hills in Central Park West. David knew Gloria Stepanov drank and would sometimes lock Billy in a closet. Katie began acting at age 12, and her mother obsessed over Katie’s career. David’s father works for the Office of Strategic Services, based in Washington, DC, but David doesn’t know exactly what he does for the CIA. He and Katie had dinner when he arrived in California, and he shared something his father had told him: “[D]on’t underestimate the Russians” (19). Katie explained why she had changed her name from Stepanov: The studio wanted something more “American” sounding. She talked of the animals to be seen in Africa, and when he mentioned the revolutions unfolding across the continent, she replied that the animals “don’t care about borders” (22).
Billy sees three white men approaching their camp. One shoots one of the Black rangers and orders the porter to lie on the ground. One of the men carries a gun meant to shoot elephants. Billy, who is now a therapist in Los Angeles, thinks of the flight to Africa and his hatred of flying.
On the plane, he recalled how Dag Hammarskjöld had died in a plane crash in Africa. Tanganyika and Zanzibar recently renamed themselves Tanzania, and this new country struck Billy as a safer place than the Congo, with its ongoing rebellion. His thoughts turned to his four-year-old son, Marc, and his ex-wife. He recalled a disastrous night when his and Katie’s mother, who was drunk, woke the children up after bedtime to try to take them trick-or-treating the night before Halloween. He felt the people in the building could see that his mother “was a toxic mixture of mania and gin” (29).
In the present, Juma, their guide, hurries the Americans into the Land Rovers. He is driving the one holding Billy and his wife, Margie, who is pregnant, along with Terrance Dutton, Katie’s Black co-star and friend, and Katie and David. Billy thinks, “They [are] running away like terrified zebras, racing like impalas that had spotted a lion” (30). One of the attackers shoots out a tire, and when Juma exits the vehicle, hands raised, the man shoots him with the elephant gun.
The Hollywood Reporter excerpt notes that Charlie Patton, the safari guide, used to work with hunters like Ernest Hemingway.
Benjamin, one of the porters, watches from the ground as the white man shoots Juma. Benjamin wonders where Charlie is. Benjamin’s father once worked for him as a gunbearer. Benjamin’s father would take him to the movies on his birthday. When Benjamin saw the movie Barabbas, he compared its depiction of the crucifixion to the painting in the Catholic Church in his town; the painting included an African witch doctor in the background.
Benjamin has found Katie Barstow an undemanding client; she didn’t fuss when there was a leak in the canvas tub that was supposed to provide her bath. She also knows the names of the staff. At one point, Benjamin realized that he’d seen a movie with Terrance Dutton, who spoke to him of the work his parents did in Memphis, Tennessee. Dutton was watching a bird, a purple grenadier, and asked Benjamin not to call him bwana. Benjamin is shocked when Juma is shot.
Hearing Felix, the husband of actress Carmen Tedesco, whimpering, Reggie recalls being in Okinawa in 1945. He thinks that the men kidnapping them are Russian. Charlie has brought guns along because Katie’s agent, Peter Merrick, is planning to stay an extra week to hunt.
Reggie was surprised but pleased when Katie invited him on the safari. One of their early walks gave him a chance to chat with Carmen, who surprised Reggie with her intelligence and sense of humor. Reggie asked one of the rangers with them if he had climbed Kilimanjaro, and the ranger said that he had given up at 18,000 feet due to altitude sickness. Carmen mentioned Hemingway’s story, and the ranger asked if she had read Chinua Achebe. Now, with all of them on the ground, Felix starts vomiting, and the ranger Reggie spoke with is killed when he tries to fire at the attackers.
The Hollywood Reporter relates an anecdote about Carmen being stuffed into a locker by her ninth-grade cheerleading team.
As she watches the shootings, Carmen thinks of the Hemingway story with Margot Macomber, a woman who realizes that her husband is pathetic. Carmen also recalls the movie Hanging Rock, where she and Katie met. The women are the same age, and both grew up on the West Coast; Carmen saw Katie perform once in the theater. Carmen isn’t a top actress, but she’s glad for the roles she has. She recalls how Felix tried to ingratiate himself with her father when they met by name-dropping Clayton Moore, who played the Lone Ranger, and whom Carmen’s father had worked with. Felix can’t seem to help but boast that his father is an A-list director. Carmen hadn’t thought that was the man she married, but now she is disgusted by his reaction to the crisis.
Terrance Dutton is known in Hollywood for being outspoken, and he has been involved in the civil rights movement. Terrance considers their captors and doesn’t think that they’re like the racist white Southerners he’s met. One of the men is now driving their Land Rover, and a guard sits in the back seat. Terrance feels angry and wonders, “Was there no place in the world where he wasn’t going to—in this case, quite literally—have to fight to survive?” (58). He reflects that he never again wants to film in the American South and recalls how his family had a pet dog that someone killed when he was young. He was a good artist as a young man, but his work was never displayed because he was Black.
Terrance recently received death threats when the press learned he was invited to Katie and David’s wedding. Katie once went with Terrance on a freedom ride, the only one of his friends who did so. There was a scene in their movie Tender Madness where he and Katie kissed, but the studio knew it was too controversial to include in the movie. Terrance went alone to Katie’s wedding and felt “absolutely invisible and an awkward, flagrant outsider” at the reception (63). He tries talking to the guard in the Rover, who tells him to stop talking. Terrance watches the elephants watch them pass.
This section establishes the techniques the narrative will use to manipulate time and point of view to convey information and establish suspense. The Prologue provides foreshadowing by revealing that several people died on the safari. This Prologue, grounded in the future perspective of an as-yet-unidentified narrator looking back on events, also frames the main narrative action as an extended flashback, which lends a further air of inevitability to the story that follows. Amplifying this effect, much of each chapter unfolds either in flashback or retrospective exposition as characters reflect on their pasts. The frame narrative is full of tense dramatic action—the attack and kidnapping of the Americans—while establishing suspense around the identity and motives of the attackers. The flashbacks spend time on character development, revealing the history, situation, needs, and fears of each character in turn. There are seven points of view presented so far, not counting the narrator of the Prologue. Delving into each character’s mind defers the action (thus creating suspense) while assembling a large ensemble cast of protagonists. All of them are united by the wish to survive, but they are distinct in their worldviews.
Besides preparing the reader for violent and dramatic action, the Prologue thus establishes the thematic context for examining Motives for Human Violence and Cruelty, which include survival itself. The question of what is necessary to survive is introduced in the Prologue’s closing lines: “The mantra for most of us? Just stay alive. See if, somehow, we might see the sun rise one more time” (4). The comment also suggests an allusion to Ernest Hemingway’s classic novel The Sun Also Rises (1926). Indeed, allusions to Hemingway abound elsewhere, beginning with a reference to his reputation as a big-game hunter; his experiences on safari in Africa are most explicitly captured in his nonfiction book The Green Hills of Africa (1935) and fictionalized in the posthumous True at First Light (1999). However, motifs of hunting and predation are scattered throughout his fiction, underscoring an atmosphere of barely suppressed violence even before the attack begins.
Hemingway’s work also engages with another theme central to The Lioness: The Fragility of Intimate Relationships. The Sun Also Rises, for instance, is essentially concerned with failed love affairs and lost chances, which will turn out to be territory that The Lioness explores as well. Similarly, the difficulties of marital intimacy drive the chief conflict of his short story “The Short Happy Life of Francis Macomber” (1936), to which Carmen relates as she witnesses her husband’s fright during the attack.
Finally, Hemingway’s presence in the novel gestures toward its interest in The Legacy of Colonialism. “Francis Macomber” appears in Hemingway’s collection The Snows of Kilimanjaro (1936), which is alluded to when Reggie asks one of the African rangers if he’s climbed the legendary mountain. The discussion further serves to humanize this minor character before he is shot by the kidnappers a short time later. In particular, the ranger responds to the discussion of Hemingway by recommending that Carmen read another classic 20th-century novel, Things Fall Apart (1958) by Nigerian author Chinua Achebe. That is, in answer to a white American man’s perspective on Africa, the ranger suggests that Carmen study an African man’s story, hinting that Hemingway’s works present an implicitly colonialist understanding of the region, one that is idealized, otherized, and generally incomplete.
The experience of Terrance lends further nuance to the theme. Terrance is a liminal figure: He is marginalized in US society but, as an American and an actor, is relatively privileged in the context of postcolonial Tanzania. His interactions with Benjamin, including the porter’s use of the term “bwana” (“boss”), problematize the idea that racial solidarity extends easily across neocolonial and socioeconomic boundaries. Meanwhile, the contemporary independence movements on the part of several former colonies contextualize the personal violence enacted by the kidnappers. This setting lends an air of irony to the Prologue narrator’s observation that ethnic and national distinctions matter much less when survival is at stake; though true in a limited sense, it fails to grapple with how those distinctions fuel the novel’s violence, reinforcing the novel’s overall critique of the colonialist gaze.
While the lioness is introduced as an important metaphor and symbol representing Katie Barstow’s influence among the group, the animals the tourists see on safari provide metaphors for individual chapters. The herd of giraffes at the water hole that Katie is watching, for instance, serves as an image for the group itself, which is about to become prey. A dung beetle that Benjamin observes while he is crouched on the ground, as directed by the attackers, represents the helplessness he feels at that moment. At the same time, the beetle’s actions indicate that the rhythms of nature continue, with each creature obeying its natural instincts, even as human concerns are being violently acted out.
Then again, the novel hints that human violence may itself be one of those natural rhythms, emphasizing that humans are themselves animals. The distinctions between humans and animals become blurred when survival is at stake. The novel also contrasts the current conflict, spanning mere hours so far, with the long scope of human history that has been made intelligible in large part by finds in Africa, the cradle of human life. This scope is established by reference to the discoveries of famed British paleoanthropologist Mary Leakey, whose excavations in Africa, especially in Kenya, were fundamental in shaping the understanding of early hominids. The symbolic echo of these fossils provides an implicit answer to the concerns that the protagonists voice, at various times, about what their individual legacy will be or what will remain of them when they are gone.



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