The No. 1 Ladies' Detective Agency

Fans around the world adore the bestselling No. 1 Ladies’ Detective Agency series, the basis of the HBO TV show, and its proprietor Precious Ramotswe, Botswana’s premier lady detective.  In this charming series, Mma  Ramotswe navigates her cases and her personal life with wisdom, and good humor — not to mention help from her loyal assistant, Grace Makutsi, and the occasional cup of tea.

This first novel in Alexander McCall Smith’s widely acclaimed The No. 1 Ladies Detective Agency series tells the story of the delightfully cunning and enormously engaging Precious Ramotswe, who is drawn to her profession to “help people with problems in their lives.” Immediately upon setting up shop in a small storefront in Gaborone, she is hired to track down a missing husband, uncover a con man, and follow a wayward daughter. But the case that tugs at her heart, and lands her in danger, is a missing eleven-year-old boy, who may have been snatched by witchdoctors.

The No. 1 Ladies’ Detective Agency received two Booker Judges’ Special Recommendations and was voted one of the International Books of the Year and the Millennium by the Times Literary Supplement.

This first novel in Alexander McCall Smith's widely acclaimed The No. 1 Ladies Detective Agency series tells the story of the delightfully cunning and enormously engaging Precious Ramotswe, who is drawn to her profession to "help people with problems in their lives." Immediately upon setting up shop in a small storefront in Gaborone, she is hired to track down a missing husband, uncover a con man, and follow a wayward daughter. But the case that tugs at her heart, and lands her in danger, is a missing eleven-year-old boy, who may have been snatched by witchdoctors.

The No. 1 Ladies' Detective Agency received two Booker Judges' Special Recommendations and was voted one of the International Books of the Year and the Millennium by the Times Literary Supplement.

2. What makes Precious Ramotswe such a charming protagonist? What kind of woman is she? How is she different from the usual detective? Why does she feel “called” to help her fellow Africans “solve the mysteries of their lives” [p. 4]?

3. What is surprising about the nature of the cases Mma Ramotswe is hired to solve? By what means does Alexander McCall Smith sustain the readers interest, in the absence of the kind of tension, violence, and suspense that drive most mysteries?

4. Mma Ramotswes first client, Happy Bapetsi, is worried that the man who claims to be her father is a fraud taking advantage of her generosity. “All he does,” she says, “is sit in his chair outside the front door and tell me what to do for him next.” To which Mma Ramotswe replies, “Many men are like that” [p. 10]. What is Mma Ramotswes view of men generally? How do men behave in the novel?

5. Why does Mma Ramotswe feel it is so important to include her fathers life story in the novel? What does Obed Ramotswes life reveal about the history of Africa and of South Africa? What does it reveal about the nature and cost of working in the mines in South Africa?

6. Mma Ramotswe purchases a manual on how to be a detective. It advises one to pay attention to hunches. “Hunches are another form of knowledge” [p. 79]. How does intuition help Mma Ramotswe solve her cases?

7. When Mma Ramotswe decides to start a detective agency, a lawyer tells her “Its easy to lose money in business, especially when you dont know anything about what youre doing. . . . And anyway, can women be detectives?” To which Mma Ramotswe answers, “Women are the ones who know whats going on. They are the ones with eyes. Have you not read Agatha Christie?” [p. 61]. Is she right in suggesting women are more perceptive than men? Where in the novel do we see Mma Ramotswes own extraordinary powers of observation? How does she comically undercut the lawyers arrogance in this scene?

8. As Mma Ramotswe wonders if Mma Malatsi was somehow involved in her husbands death and whether wanting someone dead made one a murderer in Gods eyes, she thinks to herself: “It was time to take the pumpkin out of the pot and eat it. In the final analysis, that was what solved these big problems of life. You could think and think and get nowhere, but you still had to eat your pumpkin. That brought you down to earth. That gave you a reason for going on. Pumpkin” [p. 85]. What philosophy of life is Mma Ramotswe articulating here? Why do the ongoing daily events of life give her this sense of peace and stability?

9. Why does Mma Ramotswe marry Note? Why does this act seem so out of character for her? In what ways does her love for an attractive and physically abusive man make her a deeper and more complicated character? How does her marriage to Note change her?

10. Mma Ramotswe imagines retiring back in Mochudi, buying some land with her cousins, growing melons, and living life in such a way that “every morning she could sit in front of her house and sniff at the wood-smoke and look forward to spending the day talking with her friends. How sorry she felt for white people, who couldnt do any of this, and who were always dashing around and worrying themselves over things that were going to happen anyway. What use was it having all that money if you could never sit still or just watch your cattle eating grass? None, in her view; none at all” [p. 162]. Is Mma Ramotswes critique of white people on the mark or is she stereotyping? What makes her sense of what is important, and what brings happiness, so refreshing? What other differences between black and white cultures does the novel make apparent?

11. Mma Ramotswe does not want Africa to change, to become thoroughly modern: “She did not want her people to become like everybody else, soulless, selfish, forgetful of what it means to be an African, or, worse still, ashamed of Africa” [p. 215]. But what aspects of traditional African culture trouble her? How does she regard the traditional African attitude toward women, marriage, family duty, and witchcraft? Is there a contradiction in her relationship to “old” Africa?

12. How surprising is Mme Ramotswes response to Mr. J.L.B. Matekonis marriage proposal? How appropriate is the ending of the novel?

13. Alexander McCall Smith has both taught and written about criminal law. In what ways does in The No. 1 Ladies Detective Agency draw upon this knowledge? How are lawyers and the police characterized in the novel?

14. Is in The No. 1 Ladies Detective Agency a feminist novel? Does the fact that its author is a man complicate such a reading? How well does Alexander McCall Smith represent a womans character and consciousness in Mma Ramotswe?

15. Alexander McCall Smiths Precious Ramotswe books have been praised for their combination of apparent simplicity with a high degree of sophistication. In what ways does in The No. 1 Ladies Detective Agency have the appeal of simple storytelling? In what ways is it sophisticated? What does it suggest about the larger issues of how to live ones life, how to behave in society, how to be happy?

A: The No. 1 Ladies' Detective Agency is my first foray into this territory, although I do not think of it as a mystery. I like to think of it as a novel about a woman who happens to be a private detective. Mind you, I suppose that makes it a mystery...of a sort.

Q: Your detective, Precious Ramotswe, is a wonderfully unique character — a Batswana woman of traditional build who decides to become a professional private detective. Is Precious based on someone that you knew when you lived in Botswana or is she a creation of your imagination?

A: There is no particular person upon whom Precious Ramotswe is based, but there is an incident. Years ago I was in Botswana, staying with friends in a small town called Mochudi. A woman in the town wished to give my friends a chicken to celebrate Botswana National Day. I watched as this woman — traditionally built, like Mma Ramotswe — chased the chicken round the yard and eventually caught it. She made a clucking noise as she ran. The chicken looked miserable. She looked very cheerful. At that moment I thought that I might write a book about a cheerful woman of traditional build.

Q: Did you know immediately that the story of Mma Ramotswe would be the basis for an entire series of novels?

A: No, I did not. What happened is that I became so fond of the character that I could not let her go. To leave her where she was at the end of the first novel would have been rather like getting up and leaving the room in the middle of a conversation — rather rude.

Q: It is rare for an author to explore the evolution from amateur sleuth to professional detective, but one of the most appealing aspects of Precious's character is that she doesn't always know what she's doing. In Tears of the Giraffe (the sequel to The No. 1 Ladies' Detective Agency), she even sends away for an instructional manual, Principles of Private Detection. What interests you about "education of the detective"?

A: Mma Ramotswe sets up her agency without any relevant experience. However, she does have intuition — in abundance — and that is very much more important than anything she could learn from a book. In fact, the passages she cites from The Principles of Private Detection are ultimately not particularly helpful to her, the point being that a person without any training can achieve great things if he or she has natural intelligence and ability. In many African countries, including Botswana, people have great respect for books and for the learning they contain. I would hope to point out that this should not obscure the importance of real, practical wisdom.

Q: Although Mma Ramotswe is confronted by greed, lust, dishonesty, and murderous intent, these novels are rather optimistic and often humorous in tone. How do you maintain this rather delicate balance?

A: I think that many people living in Africa — in circumstances which are sometimes quite difficult — maintain that balance themselves, and with great dignity. I think that I merely reflect what is there in those fine people.

Q: In the Precious Ramotswe novels, Botswana emerges as a vivid character and a wonderful place to live. What do you hope that American readers will discover about Africa while reading these novels?

A: I very much hope that American readers will get a glimpse of the remarkable qualities of Botswana. It is a very special country and I think that it particularly chimes with many of the values which Americans feel very strongly about — respect for the rule of law and for individual freedom. I hope that readers will also see in these portrayals of Botswana some of the great traditional virtues in Africa — in particular, courtesy and a striking natural dignity.

Q: How have these books been received in Botswana? What about other parts of Africa?

A: I was recently in Botswana and I was delighted to find that people there liked the books. I was worried that they might have reservations about an outsider writing about their society. No. They appear to like the way in which their world is portrayed. I believe that they recognize themselves in them.

Q: You were born in what is now known as Zimbabwe and you have also lived in Botswana, the United States, and Edinburgh. In what ways have your international travels informed your writing?

A: The fact that I have been all over the world means that I tend to use a variety of locations for my work. I think it is important for a writer to see other societies and attempt to understand them. Of course, you have to be careful. It is easy to get things wrong. One might put palm trees in the wrong place, for example in New York.

Q: Do you see the Precious Ramotswe books within the context of the tradition of the classic African novel of writers like Isak Dinesen and Chinua Achebe? Or do you see them as a revamping of the mystery genre?

A: I think that these books might be difficult to put into any particular tradition. They are obviously about Africa, but they are very different from the works you mention. Some people say that they remind them of the novels of that great Indian writer R.K. Narayan, which is very flattering, but I suppose I can see the similarities in the world which his and my books portray.

Q: Anthony Minghella, who has directed The English Patient and The Talented Mr. Ripley, recently optioned The No. 1 Ladies' Detective Agency to be a major motion picture. Will you be involved in the production in any way?

A: I hope that this goes ahead as planned. They have shown me a script, which I read with interest. They said that I could come and see the shooting, one of these days. I shall stand well back and I suspect that I shall say nothing.

Q: The Precious Ramotswe books have a devoted following. Have you ever had the opportunity to meet with the Mma Ramotswe fan club that is based in New York? What question are you most frequently asked by your fans?

A: There seem to be many fans of the books in the U.S.A. I receive wonderfully warm letters from American readers, which I greatly enjoy. As far as New York is concerned, there is a splendid group of readers whom I met when I was last there. They love Mma Ramotswe and she would love them too. They, like many other readers, ask me when Mma Ramotswe and Mr J.L.B. Matekoni will eventually get married. I must think about that.

Q: Next spring, Pantheon Books will publish the fourth in the series of the Precious Ramotswe novels. Will there be other books in the series as well?

A: I hope so. I am writing the fifth at the moment and I am thinking of the sixth.

Q: In addition to writing novels, you are also a professor of medical law at Edinburgh University, and as if that wasn't enough to keep you busy, you also conduct a symphony. How do you find the time to do it all?

A: I struggle to find the time to do things. I have many commitments, but writing these books is such a pleasure for me that I shall always find the time, somehow. I don't conduct a symphony — I play in a distinctly amateur orchestra, of which I am the co-founder. I play the bassoon, but not the entire instrument, as I dislike the very high notes and stop at the high D, which I think is quite high enough. This orchestra is pretty awful, and that is why it bears the name The Really Terrible Orchestra. This brings it a wide and enthusiastic following. Recently we had a request from an American amateur orchestra to use our name. We said of course. So somewhere in the U.S. there is a bad amateur orchestra called The Really Terrible Orchestra. They will go far, perhaps.