The discussion of Monica Ali’s novel In the Kitchen (2009) offered in this chapter is framed against the backdrop of de-commemorative debates over the imperial statuary in London’s Trafalgar Square, and the counter-monumental approach underpinning the Fourth Plinth Project. López-Ropero claims that Ali’s novel, and others sharing similar themes such as Chris Abani's Becoming Abigail (2006), invite a reading of London’s monuments, squares, and historical buildings—the Ritz, Regent Street, Waterloo Place, the sphinxes at the Thames Embankment—that underscores the histories of violence and domination that produced them and which they erase. The imperial and slaving connections of London’s symbolic landscape reverberate with the evils of human trafficking and deregulation that haunt the former imperial capital and its hospitality industry in the present. As we revisit these London landmarks through the eyes of the novel’s protagonist, we bear witness to the transit of these spaces from sites of exaltation of the imperial past and a promising future; to their current status as amnesiac monuments, platforms for protest, and places of regret that remind us of our implication in the neocolonial dynamics of the global economy of which we are beneficiaries. The contributor builds on Michael Rothberg’s category of the implicated subject to put forward the notion of “implicative space” as one that enmeshes individuals in a pattern of indirect responsibility for past injustice and its ongoing legacy.