The Miracle at Speedy Motors (No. 1 Ladies Detective Agency series #9)
Alexander McCall Smith, 2008
Knopf Doubleday
224 pp.
ISBN-13: 9781616880309
Summary
Investigating her latest case, Mma Ramotswe has to trek to a game preserve, where she rediscovers the breathtaking beauty of her beloved Botswana. She is there to uncover the truth about an elderly American traveller whose safari proved to be his last journey. What she discovers is a surprise to everyone concerned.
Meanwhile, problems are also brewing back at the No. 1 Ladies’ Detective Agency: Mma Makutsi has instituted the Complaint Half Hour in order to air her grievances—which works well for her until Mma Ramotswe decides to institute her own version. And life is no less complicated at Tlokweng Road Speedy Motors, where Mr. J.L.B. Matekoni—Mma Ramotswe’s estimable husband—has suddenly decided to mortgage the garage.
But without a doubt—and after several cups of bush tea—Precious Ramotswe will make sure, as only she can, that everything turns out as it should. (From the publisher.)
Author Bio
• 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.)
Book Reviews
Before this touching case is solved—with the twist of folk humor that makes the whole series irresistible—there will indeed be miracles.
Marilyn Stasio - New York Times
(Audio version.) This ninth "No. 1 Ladies Detective Agency" novel is one of the strongest entries in a consistently strong series. Like its predecessors, it is a gentle, warmhearted mix of loosely interwoven narrative threads that reaffirm Botswana detective Precious Ramotswe's philosophy of serving others. The book also offers enough intrigue, mystery, and uncertainty to keep listeners guessing-particularly about what the title's "miracle" will be. The answer is at once surprising and wholly believable. As always, South African reader Lisette Lecat brings a perfect accent and intonation to her narration, making Smith's books a treat to hear. With a new BBC miniseries adapted from the novels coming to HBO, American interest in the No. 1 Ladies Detective Agency should soon be greater than ever.
Kent Rasmussen - Library Journal
(Starred review.) The ninth installment in McCall Smith’s beloved No. 1 Ladies’ Detective Agency series finds Botswanan Precious Ramotswe musing upon more mysteries of life. —Allison Block
Booklist
Mma Precious Ramotswe, Botswana's foremost detective, witnesses a miracle, though not the one she was hoping for. In their deceptively quiet way, things are bustling at the No. 1 Ladies' Detective Agency. Mma Manka Sebina, an adopted woman from the village of Ootse who does not know her blood relatives, begs Mma Ramotswe: "Please find me a birthday, and find me some people." Mma Grace Makutsi, the formidable assistant who clearly has her heart set on becoming the No. 1 Agency's Chief Detective, arranges with her fiance Phuti Radiphuti, owner of the Double Comfort Furniture Shop, to have a connubial bed-and what a bed!-delivered to her house. Mma Ramotswe's husband Mr. J.L.B. Matekoni, the proprietor of Tlokweng Road Speedy Motors, is excited to hear Dr. Mwata suggest that, against all earlier medical opinion, he may be able to help the couple's foster daughter Motholeli to walk again. Although Motholeli has always accepted with rare grace the spinal injury that has kept her in a wheelchair, she can't keep herself from hoping too. The only cloud on the horizon is a series of spiteful anonymous letters in which Mma Ramotswe is warned: "Fat lady, you watch out!" If there are fewer funny moments than in Mma Ramotswe's previous cases (Good Husband of Zebra Drive, 2007, etc.), there's a deepening gravity and sweetness you won't find anywhere else in the genre.
Kirkus Reviews
Discussion Questions
1. After Mma Makutsi protests about the agency's address being “in care of” Tlokweng Road Speedy Motors, Mma Ramotswe thinks about the meanings of the phrase. “Yes, we were all care of one another in the final analysis, at least in Botswana, where people looked for and valued those invisible links that connected people, that made for belonging” [p. 5]. Would you consider this idea central to the book? To which characters or events in the story does this phrase “in care of” seem most pertinent?
2. Mma Sebina comes to the agency in the hope that Mma Ramotswe will find her relatives: “Please find me a birthday, and find me some people” [p. 24]. So the novel begins like a Victorian orphan story—something like Jane Eyre—with a character seeking an identity. How else do the themes of family and identity arise in the novel?
3. Puso jumps out of the car when Mma Ramotswe mentions his Bushman background, of which he is ashamed [pp. 33–34]. She tells him, “You mustn't be cross with your mummy” [p. 35], and realizes she has called herself his mother for the first time. What progress does this family of two foster children and two nonbiological parents make throughout the course of the novel in strengthening their bonds of love and trust?
4. In Chapter Four, Mma Ramotswe and Mr. J.L.B. Matekoni discuss Mma Makutsi's impending marriage and the question of whether men should have to pay the bogadi for their wives [pp. 45-50]. What is unsettling for Mma Ramotswe about this conversation? What details help to create the quiet comedy of the situation?
5. In her visit to Mma Sebina's village, Mma Ramotswe tells the woman under the tree, “I am a lady first and then I am a detective. So I just do the things which we ladies know how to do—I talk to people and find out what has happened. Then I try to solve the problems in people's lives. That is all I do” [p. 71]. Is it true that Mma Ramotswe is “a lady first”? How relevant or necessary is the fact of her being a woman to her success in solving problems for people?
6. As in all of the books of this series, the land plays a silent but important role in the lives of the characters. Mma Ramotswe, watching rainclouds gather, thinks “we Batswana are . . . dry people, people who can live with dust and dryness but whose hearts dream of rain and water” [p. 76]. Why are conditions of the land and the weather so central for Mma Ramotswe? Is it ironic that the rainclouds, “stacked in towering layers; so sudden, so welcome” [p. 74], cause the disaster that befalls Mma Makutsi's new bed?
7. Mr. Polopetsi becomes a suspect in the case of the threatening letters. Does it seem that Mma Ramotswe has become less generous in her attitude toward him [pp. 89–90]? What character traits bring him under suspicion? When the writer of the threatening letters is revealed, Mma Ramotswe's assumption that the writer was a man [pp. 14–15] is proven wrong. Is it unusual that Mma Ramotswe was wrong in her thinking on this matter?
8. Mr. J.L.B. Matekoni meets a doctor who promises him that Motholeli's paralysis can be reversed [p. 96]. What difficulties does this unexpected development cause for Mma Ramotswe? Why does she come up with the money, given her lack of faith in the treatment? How does she behave when Mr. J.L.B. Matekoni and Motholeli return home [p. 211]? What is exceptional about her handling of the whole predicament?
9. Why is Mma Makutsi reluctant to tell her fiancé the truth about what happened to the new bed? What does it suggest about their relationship that she doesn't feel she can tell him? Why is his eventual response surprising to her [p. 187]?
10. In most detective fiction, readers seek the identity of the criminal or the resolution of a mystery. Who are the criminals, and where is the mystery, in The Miracle at Speedy Motors? In what ways does Mma Ramotswe differ from most fictional detectives? How do plot and pace differ, and what unique features distinguish The No. 1 Ladies' Detective Agency series from conventional mystery novels?
11. Reflecting upon Motholeli and the suffering of Africa in general, Mma Ramotswe considers that “fundamental unfairness seemed to be a condition of human life. . . . What could one say to the poor, who had only one life, one brief spell of time, and were spending their short moment of life in hardship? And what could she say to Motholeli?” [pp. 145–46]. Does she have words of comfort for Motholeli?
12. What qualities make Precious Ramotswe such an unusual person? How would you describe the quality of her insight or wisdom? Do you find her inspirational, and if so why?
13. In the delicate matter of the health of Mma Ramotswe's van, Mma Potokwane is uncertain of how truthful she can be. Do you agree with her list of the matters that, even between close friends, cannot be criticized [p. 148]?
14. Why is Mma Makutsi shocked at the letter Mma Ramotswe dictates for Violet Sephotho [pp. 202–03]? What do you think of Mma Ramotswe's resolution that “we must answer her hatred with love” [p. 204]?
15. What is puzzling about Mr. Sekape and his attitude toward his newly discovered sister? Why is he so excited if, as he says, he dislikes women [p. 184]? Once it turns out they are unrelated, does it seem likely that Mma Sebina will succeed in marrying him [pp. 207–08]?
16. What miracles does Mma Ramotswe observe, in place of the large miracle her husband has hoped for? What is the significance of the title [p. 213]?
17. 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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