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In the Company of Cheerful ladies (No. 1 Ladies Detective Agency series #6)
Alexander McCall Smith, 2004
Knopf Doubleday
256 pp.
ISBN-13: 9781400075706
In Brief
Precious Ramotswe is beset by problems, from a strange intruder in her house on Zebra Drive to the baffling appearance of a pumpkin, in the sixth novel of The No.1 Ladies’ Detective Agency series that has captivated readers around the world.
Both entertaining and moving, In the Company of Cheerful Ladies is another masterpiece of comic understatement from Alexander McCall Smith – a gentle and enigmatic mystery, and a love letter to Botswana and its people. (From the publisher.)
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About the Author
• Birth—August 24, 1948
• Where—Bulawayo, Rhodesia (now Zimbabwe)
• Education—Christian Brothers College; Ph.D., University
Edinburgh
• Honors—Commandre of the Order of the British Empire
(CBE); Fellow of the Royal Society of Edinburgh (FRSE)
• Currently—lives in Edinburgh, Scotland, UK
Alexander (R.A.A.) "Sandy" McCall Smith, CBE, FRSE, is a Rhodesian-born Scottish writer and Emeritus Professor of Medical Law at the University of Edinburgh. In the late 20th century, McCall Smith became a respected expert on medical law and bioethics and served on British and international committees concerned with these issues. He has since become internationally known as a writer of fiction. He is most widely known as the creator of the The No. 1 Ladies' Detective Agency series.
Alexander McCall Smith was born in Bulawayo, in what was then Southern Rhodesia and is now Zimbabwe. His father worked as a public prosecutor in what was then a British colony. He was educated at the Christian Brothers College before moving to Scotland to study law at the University of Edinburgh, where he received his Ph.D. in law.
He soon taught at Queen's University Belfast, and while teaching there he entered a literary competition: one a children's book and the other a novel for adults. He won in the children's category, and published thirty books in the 1980s and 1990s.
He returned to southern Africa in 1981 to help co-found and teach law at the University of Botswana. While there, he cowrote what remains the only book on the country's legal system, The Criminal Law of Botswana (1992).
He returned in 1984 to Edinburgh, Scotland, where he lives today with his wife, Elizabeth, a physician, and their two daughters Lucy and Emily. He was Professor of Medical Law at the University of Edinburgh at one time and is now Emeritus Professor at its School of Law. He retains a further involvement with the University in relation to the James Tait Black Memorial Prize.
He is the former chairman of the British Medical Journal Ethics Committee (until 2002), the former vice-chairman of the Human Genetics Commission of the United Kingdom, and a former member of the International Bioethics Commission of UNESCO. After achieving success as a writer, he gave up these commitments.
He was appointed a CBE in the December 2006 New Year's Honours List for services to literature. In June 2007, he was awarded the Honorary Degree of Doctor of Laws at a ceremony celebrating the tercentenary of the University of Edinburgh School of Law.
He is an amateur bassoonist, and co-founder of The Really Terrible Orchestra. He has helped to found Botswana's first centre for opera training, the Number 1 Ladies' Opera House, for whom he wrote the libretto of their first production, a version of Macbeth set among a troop of baboons in the Okavango Delta.
In 2009, he donated the short story "Still Life" to Oxfam's 'Ox-Tales' project—four collections of UK stories written by 38 authors. McCall Smith's story was published in the Air collection. (From Wikipedia.)
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Critics Say . . .
The ''No. 1 Ladies' Detective Agency'' series is a literary confection of such gossamer deliciousness that one feels it can only be good for one. Fortunately, since texts aren't cakes, there is no end to the pleasure that may be extracted from these six books.
Janet Maslin - New York Times
This loosely woven novel is as beguiling as Alexander McCall Smith’s earlier books about the No. 1 Ladies’ Detective Agency. His prose is deceptively simple, with a gift for evoking the earth and sky of Africa.
Seattle Times
In this sixth entry in McCall Smith's consistently delightful series, Botswana detective Precious Ramotswe, the traditionally built-and newly married-owner of the No. 1 Ladies' Detective Agency, is saddled with a surfeit of challenging cases and personal crises. There has been an intruder in her home (he managed to escape, but left a telltale pair of trousers in his wake). And the levelheaded sleuth is flustered by an encounter with a man from her past. Meanwhile, Mma Ramotswe's husband, master mechanic Mr. J.L.B. Matekoni, is neck-deep in work after the resignation of one of his apprentices, who has become romantically entangled with a married woman (Mma Ramotswe and assistant detective Grace Makutsi slyly gather the scurrilous details). Scotsman McCall Smith, who was born in what is now Zimbabwe, renders colorful characters with names that trip off the tongue. Among the new arrivals: Mma Makutsi's new suitor and dance partner, Phuti Radiphuti, a stuttering furniture salesman with two left feet; and Mr. Polopetsi, a wrongfully imprisoned pharmacist Mma Ramotswe deems worthy of a second chance. As always, when troubles are brewing, nothing puts things in perspective like time spent on the verandah with a cup of bush tea. Amid the hilarious scenarios and quiet revelations are luminous descriptions of Botswana, land of wide-open spaces and endless blue skies. The prolific McCall Smith dispenses tales from the No. 1 Ladies' Detective Agency at a rate of one per year (he's also author of a second detective series featuring Scottish-American moral philosopher Isabel Dalhousie). That's good news for loyal fans, who eagerly await new adventures with Precious Ramotswe.
Publishers Weekly
The sixth entry in Smith's always delightful "The No. 1 Ladies' Detective Agency" series sees the return of newly married Precious Ramotswe, with husband Mr. J.L.B. Matekoni, his apprentices, and assistant detective Grace Makutsi in tow. The group embarks on another set of clever and amusing Botswana adventures that kick off with an intruder in Mma Ramotswe's home and proceeds to a succession of other dilemmas: Mr. Matekoni's apprentice Charliekeeps company with a mysterious older woman and quits his position, Mma Ramotswe and her assistant encounters a good-hearted man with a dark past, and Mma Makutsi reluctantly begins dance lessons with a stuttering stranger. Smith remains true to form in this clever and wonderfully written installment; the characters are deliciously human, and the multiple plots mesh together seamlessly. An essential read for series fans and mystery buffs alike, this is highly recommended for all public libraries. Smith lives in Scotland. —Nicole A. Cooke, Montclair State Univ. Lib., Upper Montclair, NJ
Library Journal
The finest hour yet for Botswana's No. 1 Ladies' Detective Agency, which is tracking a defalcating Zambian financier even though it "preferred to deal with more domestic matters." Her marriage to Mr. J.L.B. Matekoni, proprietor of Tlokweng Road Speedy Motors, agrees with Mma Precious Ramotswe, but if anything it's increased her caseload. The trousers left behind by a housebreaker who hid under her bed have been replaced by a ripe pumpkin. Charlie, the older apprentice at Tlokweng Road Speedy Motors, has gone off to live with a rich woman who drives a Mercedes-Benz. The tenants in Mr. J.L.B. Matekoni's rental property have set up an illegal bar. Worst of all, Mma Ramotwse's first husband, abusive jazzman Note Mokoti, has reappeared with some most unwelcome news. Though all these problems are miles from the mysteries typical of the genre, all of them except for one rather big unresolved question yield to the patient wiles of Mma Ramotswe and her assistant, Grace Makutsi, the pride of Botswana Secretarial College, whose methods emphasize solving problems over fixing guilt. Along the way, Mma Makutsi will find love in an unexpected place; Mr. J.L.B. Matekoni will find a replacement for Jimmy; and the No. 1 Ladies' Detective Agency will almost find that Zambian financier. Smith (see also p. 314) maintains the most civilized standards in the annals of detective fiction. But now, for the first time, he plots as if he actually means it.
Kirkus Reviews
Book Club Discussion Questions
1. In the opening scene, Mma Ramotswe watches as a driver sideswipes a parked car and drives away without taking responsibility and as a woman at a market steals a bracelet from a merchant when his back is turned. Mma Ramotswe jumps up from the café and tries to alert the merchant to the robbery, but her waitress accuses her of trying to run out on the bill and attempts to elicit a bribe. How do such behaviors mark the difference, for Mma Ramotswe, between the old Botswana and the new? Why does she wish to maintain ties to the old ways of thinking?
2. Detective stories usually have complex plots and eventually solve a mystery. McCall Smith’s books, however, are not so much based on plot as on human interaction and on the fact that “the unexplained was unexplained not because there was anything beyond explanation, but simply because the ordinary, day-to-day explanation had not made itself apparent. Once one began to enquire, so-called mysteries rapidly tended to become something more prosaic” [p. 17]. How does Mma Ramotswe’s approach to the detective’s profession differ from that found in other detective novels you have read? Why is the mystery of the intruder left unresolved at the end of the story?
3. At the church service Mma Ramotswe reflects, “It was a time of sickness, and charity was sorely tested. There were mothers here, mothers who would leave children behind them if they were called” [p. 27]. The minister refers to “this cruel illness that stalks Africa” [p. 31]. While the book doesn’t refer directly to HIV/AIDS, how does this deadly epidemic inflect McCall Smith’s presentation of modern Botswana, as well as his presentation of Mma Ramotswe’s state of mind?
4. Is it surprising that Mma Ramotswe and Mma Makutsi interfere in Charlie’s affair with the woman in the Mercedes? How do they justify this intervention?
5. The state of people’s clothes and hands, their manner of speaking, and countless other details are indicators from which we can make guesses about them. How does Mma Ramotswe conclude that Mr Polopetsi, regardless of having been in prison, is a good man [p. 52]? Why was she not, in the past, similarly observant about the character of Note Mokoti?
6. Why do Mma Ramotswe and Mma Makutsi have nothing to say when Mr Polopetsi finishes the story of how he went to jail?
7. What does Mma Ramotswe think of the irresponsible behavior of men like Charlie and its effects on their lives and the lives of people around them? Why does she take a dim view of men on the whole, with the exception of men like Mr J. L. B. Matekoni and Mr Polopetsi?
8. Like Jane Austen, McCall Smith is interested in manners. Think, for example, about how and why Grace eventually gained the courage to buy her own tea-pot so she could brew her own tea, how Mma Ramotswe apologized to Grace for assuming that she liked bush tea [p. 41], and how Charlie drained oil into that tea-pot [pp. 74–75]. Why are a person’s manners such a precise indicator of his or her character?
9. How does Grace overcome her initial impression of Phuti Radiphuti, and what qualities does she come to see in him? As a reader, what is your impression of Rra Radiphuti?
10. Consider some of the beloved objects in the novel, like Mma Ramotswe’s tiny white van or Mma Makutsi’s lace handkerchief. What is their significance?
11. In the marriage of Mr J. L. B. Matekoni and Mma Ramotswe, much is left unsaid. For instance, when Note Mokoti comes to the garage, Rra Matekoni never asks Precious who this man is, and she doesn’t feel obligated to tell him. Is this degree of privacy unusual in a marriage? Are the two characters very different from each other? What is the foundation of their relationship?
12. What is the effect of reading that Mma Ramotswe, who is thought of as indomitable by the other characters, succumbs to fear and weakness in the presence of Note Mokoti? What is the source of his power, and what does this reveal about her character, past and present? How does she manage to subdue her fear?
13. If you have read other books in The No. 1 Ladies’ Detective Agency series, do the stories feel like one continuous novel, or do the individual volumes stand as discrete novels independent of the others? Is it important, for understanding the characters and their situations, to read the books in order, or is the order irrelevant?
14. Book reviewers and fans all agree that the novels in The No. 1 Ladies’ Detective Agency series give a great deal of reading pleasure. Does this pleasure mask their moral seriousness, or is their moral seriousness part of what makes them pleasurable?
15. A typographic design, repeating the word Africa, follows the novel’s final sentence. How does this affect your reading of the ending, and what emotions does it express?
(Questions issued by publisher.)
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