to merit." In real life, Percival was a legendary white hunter in Africa, guiding famous clients like Teddy Roosevelt. Though his physical presence fades after the initial scenes, Pop remains powerfully etched in the narrator’s consciousness, upholding the ethical and moral codes for hunting embraced by Ernest, Mary, and their companions. When Mary finally captures her lion, she and Ernest celebrate, reminiscing about Pop: "It was pleasant talking about Pop whom Mary and I both loved and whom I was fonder of than any man that I had ever known.... [It] was like having Pop there and I thought that even in his absence he could make things all right when they were difficult."

One pivotal figure in this tapestry of characters is the district game warden, G.C., affectionately nicknamed "Gin Crazed." Despite his whimsical moniker, G.C. stands as a paragon among those intimately familiar with "the values." Through his dialogues with the Hemingways, a myriad of interpretations of the novel’s moral code unfold. Ernest and Mary are enveloped in joy whenever G.C. graces their camp, for "we had become a family and we always missed each other when we were apart." As a devoted game warden, G.C.’s passion for his work is almost fanatical in its intensity. He holds great love and respect for the game, seeking to preserve and protect it with a near-religious fervor, alongside his adherence to a stringent and intricate system of ethics. Hemingway portrays G.C. as "a little younger than my oldest son," positioning him as the archetypal son within the narrator’s tribe-like kinship, mirroring the paternal role embodied by Pop.

In the narrator's extended family, an array of vibrant African characters spring to life, each integral to the novel’s unfolding drama, thematic undercurrents, and moral framework. These individuals are far from "flat" or one-dimensional; they breathe with authenticity and significance, shattering any preconceptions of stereotypical portrayals by a "white" author. At the forefront is Debba, who graces the pages as Hemingway's African fiancée. Some critics have brushed her aside as a superficial "love-interest," yet she exudes presence and dignity, pivotal to Hemingway’s "Africanization." From the onset, her relationship with the narrator is steeped in "a great delicacy of courtship." Embracing her tribal traditions, Debba desires to wed Hemingway "by your tribe or by hers... [if] Memsahib [Mary] will accept her." While fully aware that Mary holds the role of "the principal wife," Debba aspires to be "a useful wife," transcending mere ornamentation or transient companionship. Though the Debba courtship storyline may bear the mark of Hemingway’s unfinished manuscript, leaving readers to ponder the fuller resolution that might have been, it stands as the novel's most compelling sub-plot and sub-text. As the editor steadfastly asserts, Debba is a formidable character, challenging those "politically correct" critiques of Hemingway’s portrayal of women. "Whatever the reader's opinions," Patrick Hemingway advises in his insightful character index, "he or she should pay attention to Debba."

The Brotherhood

Hemingway intricately weaves a hierarchy of camaraderie with the Africans in his camp. Among them, Arap Meina emerges as "his closest friend and associate after Ngui and Mthuka." Ngui, the quintessential tracker and gun bearer, serves as Hemingway's "native guide." In truth, no seasoned hunter would entrust his rifle to another. "A gun bearer," Patrick Hemingway clarifies, "was expected to have all the skills that General Baden-Powell and Ernest Thompson Seton envisioned for a Boy Scout." Mastery over the animal kingdom, knowledge of the bush's botanical treasures, tracking prowess, and self-sufficiency in the wild are quintessential traits Ngui possesses, marking him as a figure of heroic stature.

Mthuka, Hemingway's astute driver, steps forth as another true-to-life character, defined by his real identity. Before joining Hemingway's expedition, Mthuka honed his skills under Philip Percival. A "very close friend for a long time," Mthuka embodies integrity and responsibility, "never doing a careless or irresponsible thing." His "best and quickest eyes," coupled with his "ascetic, thin and intelligent" demeanor, make him an exceptional hunter and "a beautiful driver." Alongside Mthuka and Ngui, Arap Meina finds a place in Hemingway's heart as family, proudly declaring Hemingway as his father, a bond deepened by their shared pilgrimage to Mecca. Arap Meina possesses "a great talent for affection" and holds Miss Mary in high esteem. Hemingway cherishes him, lamenting, "that I had known him all my life and that we had spent our lives together."

Beyond the Inner Circle

Venturing beyond the sphere of close friends, we encounter Keiti and the enigmatic figure known as The Informer. Keiti, a sage elder and longstanding companion of Philip Percival, commands respect as the safari crew's senior authority. The editor notes, "Keiti's Edwardian opinions as to what was appropriate behavior on the part of Europeans differed little from those of the butler in the movie many readers may have seen: The Remains of the Day." In contrast, The Informer, aptly named for his role, acts as a conduit for the "Game Department" and also plays an instrumental part in Hemingway’s courtship of Debba. Though not admired by his peers, Hemingway paints him with a sympathetic brush—"a tall dignified man" with "distinguished" features and "accurate English"—making him an engaging and compelling figure in the narrative.

In essence, the ensemble of characters in True at First Light is both expansive and unforgettable. Even the seemingly secondary characters, like Willie, the charismatic white bush pilot, Charo, Miss Mary's devoted gun bearer, and the enigmatic Mr. and Mrs. Singh, leave a lasting impression. Willie is described as "handsome with fine merry eyes...shy without any awkwardness," and is hailed as "the most natural and best-mannered person" Hemingway has encountered. In Hemingway's world, manners are paramount, and Willie's confidence as "a great pilot" matched with his "modesty" and love for his work in the beloved land, make him a paragon of Hemingway's ideals.

The admirable Charo, portrayed as "a truly devout Mohammedan," stands as a wise and "very truthful" elder, embodying Hemingway's appreciation for and embrace of cultural diversity. Meanwhile, Mr. and Mrs. Singh, with their rich Sikh heritage, offer a compelling glimpse into the vibrant cultural tapestry of Africa. Regardless of some critics' views, shaped by contemporary "political correctness," on Hemingway's depiction of African brotherhood and tribal identity, he imbues each character with a distinct spirit and individuality, celebrating his affection not only for them but for the essence of Africa itself.