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Author -Alexander McCall Smith
Publisher -Polygon
Edition - 2002 
Binding - Paperback
Language - English
Pages - 204 
Condition - Used (Good Condition)

 

A beguiling mystery and lyrical novel of Africa -- the fourth in a series that the L.A. Times calls 'thoroughly engaging and entertaining.'

Now that The No. 1 Ladies' Detective Agency (the only detective agency for ladies and others in Botswana) is established, its founder, Precious Ramotswe, can look upon her life with pride: she's reached her late thirties 'the finest age to be', has a house, two children, a good fiancé -- Mr. J. L. B. Matekoni -- and many satisfied customers. But life is never without its problems. It turns out that her adopted son is responsible for the dead hoopoe bird in the garden; her assistant, Mma Makutsi, wants a husband and needs help with her idea to open the Kalahari Typing School for Men; yet Mma Ramotswe's sexist rival has no trouble opening his Satisfaction Guaranteed Detective Agency across town. Will Precious Ramotswe's delightfully cunning and profoundly moral methods save the day? Follow the continuing story of Botswana's first lady detective in the irresistible The Kalahari Typing School for Men.

Now jump back 30 years, to 1828, when a revolution of sorts is stirring on the island of Tasmania. Over the years, white settlers have been encroaching on aboriginal land and relations have deteriorated into violence. At the heart of the action is Peevay, a young half-breed abandoned by his aborigine mother, who had been kidnapped and raped by a white escaped convict. Now his vengeful mother is leading a war against the whites, and Peevay, desperate to win her love, has joined her. Chapters from the past narrated by Peevay and augmented by letters and dispatches from white settlers alternate with the sections told by Kewley, Wilson, Renshaw, and Potter. Eventually, of course, the two time lines intersect with momentous results.

War, mutiny, shipwreck, and not a little farce make English Passengers a gripping read, but it is Matthew Kneale's literary ventriloquism that renders it remarkable. In a novel with so many different points of view, the individuality of each voice stands out. There is, for instance, the mutinous Dr. Potter, whose descent into paranoia and egomania results in diary entries reminiscent of a 19th-century psychotic Bridget Jones: "Manxmen = treacherous even to v. last. Self heard Brew (lashed to mainmast as per usual) instructing helmsman to steer N.N.W. When self questioned he re. this he claiming we = carried into Bay of Biscay by difficult sea currents + must set course to avoid Breton Peninsular. He pointing to distant point of land to N.N.E. claiming this = Brittany. Self = doubtful." But perhaps the most compelling voice in English Passengers belongs to Peevay, who paints a vivid picture of aboriginal life in a foreign tongue he nonetheless makes his own:

When we sat so in the dark, after our eating, Tartoyen told us stories--secret stories that I will not say even now--about the moon and sun, and how everyone got made, from men and wallaby to seal and kangaroo rat and so. Also he told who was in those rocks and mountains and stars, and how they went there. Until, by and by, I could hear stories as we walked across the world, and divine how it got so, till I knew the world as if he was some family fellow of mine.

By the close of this epic tale, the world Peevay had known is gone forever and the lives of the Manx sailors and English passengers have been irrevocably changed. Based on real events in Tasmanian history, Matthew Kneale's novel delivers a home truth about Australia's brutal colonial past, even as it conveys the wonder and allure of the age of exploration. --Alix Wilber

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