The No. 1 Ladies' Detective Agency

“I love our country, and I am proud to be a Motswana. There’s no other country in Africa that can hold its head up as we can. We have no political prisoners, and never have had any. We have democracy. We have been careful. The Bank of Botswana is full of money, from our diamonds. We owe nothing.”

This passage is indicative of the novel’s thematic interest in national pride among the Tswana people. Obed Ramotswe’s explanation of his national pride suggests that African success is still measured by colonial expectations and outside perspectives. The reference to the economy’s dependence on diamonds is ironic, given the deadly effects of mining on Obed’s lungs.

“Goats, cattle, hills, pumpkins, houses; there was so much for the artist’s eye around Mochudi that there was no danger that she would run out of subjects.”

Throughout the novel, Alexander McCall Smith emphasizes the beauty and dignity of the African landscape and people, even as he acknowledges the difficulties of life in rural Botswana. This passage suggests that the small details of life of Mochudi are worthy of artistic representation, either in visual form, as here, or in written form, as in the novel itself.

“He died shortly after her thirty-fourth birthday, and that was the point at which Precious Ramotswe, now parentless, veteran of a nightmare marriage, and mother, for a brief and lovely five days, became the first lady private detective in Botswana.”

In the first chapter of the novel, Mma Ramotswe is introduced as a charismatic, optimistic and confident protagonist. As her backstory is slowly revealed, the traumatic experiences listed above add depth to her character and help to explain her passion for helping others solve problems.

“This man was so certain of himself, so utterly convinced. What had it to do with him what she did? It was her money, her future. And how dare he saw that about women, when he didn’t even know that his zip was half undone! Should she tell him?”

This passage is indicative of the casual paternalism that defines many of the male characters in the novel, and Mma Ramotswe’s determination to resist male influence. Her attention to detail in every situation helps Mma Ramotswe to outwit the men who try to contain her.

“But years later, when he remained small, the mother thought of the fall and blamed herself for believing that nurse who was only good for doing bilharzia tests and checking for worms.”

This excerpt points to the devastating lack of proper medical care in rural Botswana. The only option for treating an injured child is to take him to a regional clinic, where medical practitioners are trained primarily in triage care, like diagnosing easily testable diseases and infections.

“When people were unmoved in that way, Mma Christie expected the reader to be suspicious. What would Mma Christie have thought if she had seen Mma Malatsi’s cool reaction, her virtual indifference? She would have thought: this woman killed her husband.”

Although The No. 1 Ladies’ Detective Agency takes place in a post-colonial Botswana, the influence of the British empire is evident throughout the novel. Here, Mma Ramotswe refers to English mystery writer Agatha Christie as a kind of guide to solving mysteries. The use of the term of respect “Mma” to describe Christie demonstrates how deeply British and Tswana practices were enmeshed.

“Come on, now, Mma Ramotswe. You know as well as I do what goes on. We don’t like to talk about it do we? It’s the thing we Africans are most ashamed of. We know it happens but we pretend it doesn’t. We know all right what happens to children who go missing.”

Lingering tensions between Christianity and traditional Tswana religions and witchcraft are visible throughout the novel. This passage suggests that medicine murder—the murder of a person for body parts to be used in magical rituals—is the most troubling remnant of pre-Christian Africa for Africans.

“Mma Ramotswe could tell that she was not a Motswana. She was a West African, probably a Ghanian, judging by the complexion and the dress. Ghanaians were Mma Ramotswe’s favorite people: they had a wonderful sense of humor and were almost inevitably in a good mood.”

Discussions of ethnic and tribal differences across Africa recur repeatedly across the novel, usually in discussion of national pride in Botswana. In this passage, Mma Ramotswe celebrates the kindness and humor of Ghanaian people while also acknowledging cultural differences.

“She returned to her perusal of The Snakes of Southern Africa. Now this was a bad snake, this one. There it was. Look at the head! Ow! And those evil eyes! Mma Ramotswe shuddered, and read: ‘The above picture is of an adult male black mamba, measuring 1.87 meters.’”

This passage highlights the tension between native African folk knowledge and European sciences. Without reading about the black mamba, Mma Ramotswe is aware of its dangerous power because of its eyes and head markings. The formality of the book’s language and scientific measurements contrasts her immediate, intimate knowledge of local animals.

“It was the rainy season, and the land was covered with green. Rain could transform it so quickly, and had done so: now the ground was covered with shoots of sweet new grass, Namaqualand daisies, the vines of Tsama melons, and aloes with stalk flowers of red and yellow.”

The novel presents Botswana as a harsh but dynamic landscape: Despite the threat of wild animals and deadly aridity, the Kalahari is still depicted as a beautiful place. Here, the novel draws attention to the colorful and fragrant blooms that appear during the rainy season.

“Mr. J.L.B. Matekoni sighed. He did not like stolen cars. He preferred to have nothing to do with them, but this was a request from Mma Ramotswe, and so there was only one answer to give.”

This passage is the first indication that Mma Ramotswe’s feelings toward J.L.B. Matekoni are reciprocated. Given novel’s emphasis on Matekoni’s integrity and honesty, this passage suggests that he is willing to sacrifice a great deal to please Ramotswe.

“On the mantelpiece she had placed her special china, her Queen Elizabeth II teacup and her commemoration plate with the picture of Sir Seretse Khama, President, Kgosi of the Bangwato people, Statesman. He smiled at her from the plate, and it was as if he gave a blessing, as if he knew. As did the Queen, for she loved Botswana too, and understood.”

Botswana gained independence from Britain in 1966. This passage suggests that colonial influences are still deeply felt. The fact that Ramotswe’s special china celebrates colonial powers and the new Tswana government is indicative of the duality of modern Botswana.

“When she had been married to Note Mokoti she had been conscious of a deep, overwhelming unhappiness that followed her around like a black dog. That had gone now.”

The concept of intuition is essential to the novel; this passage suggests that Ramotswe ignored her intuitions about her ex-husband during their marriage. The image of the black dog stalking her acts as a reminder that, despite her misgivings, the abuse she suffered was not her fault but inflicted upon her.

“She looked at Alice, and there flowed between them a brief moment of understanding. All women in Botswana were the victim of the fecklessness of men. There were virtually no men these days who would marry a woman and settle down to look after her children: men like that seemed to be a thing of the past.”

The “fecklessness” of men is a recurring motif throughout the novel, as suspicious wives bring stories of theft and unfaithfulness to Ramotswe. The irony of this passage is that the novel depicts most of these women as motivated, independent actors, rather than the passive victims of their husband’s behaviors.

“It was always very subtly done—your application for a license for your business may encounter unexpected delays; or you may find that there always seemed to be speed traps on your particular route to work; or your staff grew restless and went to work for somebody else. There was never anything you could put your finger on—that was not the way in Botswana, but the effect would be very real.”

In this first introduction, the character of Charlie Gotso is characterized as a threatening, shadowy figure. This passage suggests that his political retaliation is subtle enough to avoid causing scandal that would damage Botswana’s reputation. Because it is intangible, his influence takes on an almost magical power.

“To be known to a High Commissioner! To be greeted by name by people like that! Not that she was impressed by them, of course, even high commissioners; but her Daddy would have been, and she regretted that he had not lived to see his plans for her come to fruition.”

The novel suggests that Mma Ramotswe is guided by her love for her father, whose legacy she tries to honor with her actions. Although she denies being impressed by the political figures mentioned in this passage, her delight at being recognized demonstrates how deeply her father’s influence affects her daily life.

“The police had a limited interest in pursuing crime, and certain sorts of crime interested them not at all. The involvement of the country’s most powerful figure in witchcraft would certainly be in the latter category.”

This passage is indicative of the low-level corruption that allows violence to exist in Botswana. Ironically, the novel suggests that this corruption exists in order to protect Botswana’s reputation as a stable democracy.

“‘No. We can’t do that,’ she said. ‘People have been forgetting about this sort of thing for long enough, haven’t they? We can’t do that.’”

Mma Ramotswe’s bravery and confidence is one of her defining characteristics. In this passage, she demonstrates her bravery by taking on practitioners of muti even when she knows the police and government historically have not.

“She looked at him and smiled, and he thought: I am lucky. She is smiling at me. There is nobody to love me in this world. Here is somebody who likes me and smiles at me.”

The love story between Mma Ramotswe and J.L.B. Matekoni is secondary to the mystery plot that dominates the book, but is very moving. This passage is the first indication that, like Ramotswe, Matekoni feels like he is alone in the world. Their loneliness brings the pair closer together.

“Did she seriously think that he, Mr. Charlie Gotso, would restrict himself to one woman, like a clerk from a Government department? When he had all that money and influence? And a BA as well?”

This passage is indicative of the sexual politics that dictate romantic relationships in the novel. Gotso feels that his power and influence absolve him of the need to be faithful to his wife, and thinks that she ought to understand her place without being told. Mma Ramotswe’s independence offers an antidote to this type of romantic relationship.

“Mma Ramotswe did not want Africa to change. 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.”

Ramotswe’s visit to Mafikeng, South Africa, offers a stark contrast to her time in Gaborone, and the novel emphasizes the nation’s apartheid policies. This passage reflects Ramotswe’s affection for the old Africa of her childhood, and her pride in the people and communities who comprise the continent.

“Mma Ramotswe lowered her cup, very slowly. Her heart thumped within her; she realized that she was at the heart of the matter now, the elusive solution within her grasp. But she would have to sound casual.”

Ramotswe’s greatest gift as a detective is her emotional intelligence, which allows her to quickly sense what others are thinking and how they might react. This passage demonstrates her quick thinking and acting skills, which help her to form immediate bonds with strangers.

“This was evil incarnate, the heart of darkness, the root of shame. This man, for all his mumbo-jumbo and his spells, was a murderer.”

The phrase “heart of darkness” appears twice in the novel, evoking colonialist prejudices about the supposed savage nature of the African content. In this passage, it reflects Mma Ramotswe’s genuine fear and disgust with witchcraft. However, given Alexander McCall Smith’s position as a British citizen, the phrase is also a reminder of the disparity of his lived experience and that of Tswana citizens.