Ujunwa arrives at Jumping Monkey Hill, a seaside resort of thatched cabins, jacaranda trees and open windows, where the African Writers Workshop is being held. She is picked up at the airport by Edward Campbell, an elderly former UCT lecturer with a “posh” British accent, who kisses her cheeks, asks about her travel troubles, and drives her in a fast Renault to the resort. Edward introduces her to the other participants at lunch: a white South African woman from Durban, a black South African man from Johannesburg, a Tanzanian man from Arusha, a Kenyan man from Nairobi, a Zimbabwean woman from Bulawayo, a Senegalese woman who arrived via Paris, and a Ugandan prize‑winner who will lead the workshop. Edward’s wife, Isabel, an animal‑rights activist who spent her teenage years in Botswana, makes a flamboyant speech about royalty and anti‑poaching. Ujunwa feels out of place, observes the dynamics, and notes the Ugandan’s aloofness and Edward’s constant, unsettling glances at her body. Over the next days the group writes, critiques each other’s stories, and debates African literature, colonial legacies, and personal politics. Edward repeatedly makes inappropriate comments, eventually telling Ujunwa he would “rather like you to lie down for me,” prompting Ujunwa to publicly accuse him of staring at her body. The other writers respond with denial, justification, and criticism, exposing gender and power tensions in the group. Meanwhile, Ujunwa interweaves a fictional narrative about Chioma, a Lagos‑based economics graduate who has lost a banking job. Chioma receives a call from Merchant Trust Bank, interviews a handsome deputy manager, and is hired for a marketing role that requires bringing in ten million naira in two weeks. She is sent with a colleague, Yinka, to an Ikoyi alhaji’s house, where the alhaji makes patronising advances, sits Chioma on his lap, and offers her a personal contact role. Chioma reflects on her mother’s conflict with a “Yellow Woman” who stole her husband’s money, her father’s past support for her reading, and the family boutique’s decline. The chapter ends with Ujunwa overwhelmed by the workshop’s hostility, an unsuccessful call to her mother, and a struggle to write; the Ugandan praises a story about Lagos, while Edward continues to assert a “real Africa” narrative, leaving Ujunwa feeling isolated and angry.