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Pat is taking a second year off from her college studies. The first year off didn't work quite as she had hoped. Pat is delighted to find a flat she can share with the handsome, if self-absorbed, Bruce, and two perpetually missing flat mates. She quickly finds a job working in an art gallery where the owner, Chris, knows even less about what he's doing than she does. On the same floor in her building is a delightful older woman, Domenica, who knows where all the bodies are buried. Through the walls, Pat can hear little Bertie practicing his saxophone for his mother, Irene . . . who's obsessed with having her son become a civilized genius. Bertie has other ideas.

The cast of characters is soon off on a mad-cap scramble through life whose continuing plot thread is a painting that just might be valuable . . . if only someone can figure out who painted it . . . and where it is. Along the way, lust rears its powerful chemistry and Pat learns to tell the good guys from the bad.

The story reminded me very much of the best of Maeve Binchy's novels about modern Dublin. 44 Scotland Street has the advantage over Ms. Binchy because Alexander McCall Smith is able to deftly develop his story so rapidly with sure visual pictures while bringing out the humor . . . rather than the painful melodrama . . . in everyday living.

I found myself roaring with laughter throughout the book. There's lots of use of psychiatry to develop the humor. I thought that the scenes with Irene and Bertie's analyst were irresitible! I didn't know that you could have so much fun while sober in Scotland.


21st Century Dickens in Edinburgh   July 11, 2005
 18 out of 18 found this review helpful

Alexander McCall Smith has helped recreate the daily serialized newspaper-published novel with 44 Scotland Street. In 110 tasty snippets, he introduces vast numbers of memorable characters, expands the action, provides 109 cliff hangers and deliciously complicates the plot. With a spare style and a twinkle in his eye, the author gives us plenty to chuckle about in unveiling the pretensions of the self-congratulatory urbanized upper crust.

Pat is taking a second year off from her college studies. The first year off didn't work quite as she had hoped. Pat is delighted to find a flat she can share with the handsome, if self-absorbed, Bruce, and two perpetually missing flat mates. She quickly finds a job working in an art gallery where the owner, Chris, knows even less about what he's doing than she does. On the same floor in her building is a delightful older woman, Domenica, who knows where all the bodies are buried. Through the walls, Pat can hear little Bertie practicing his saxophone for his mother, Irene . . . who's obsessed with having her son become a civilized genius. Bertie has other ideas.

The cast of characters is soon off on a mad-cap scramble through life whose continuing plot thread is a painting that just might be valuable . . . if only someone can figure out who painted it . . . and where it is. Along the way, lust rears its powerful chemistry and Pat learns to tell the good guys from the bad.

The story reminded me very much of the best of Maeve Binchy's novels about modern Dublin. 44 Scotland Street has the advantage over Ms. Binchy because Alexander McCall Smith is able to deftly develop his story so rapidly with sure visual pictures while bringing out the humor . . . rather than the painful melodrama . . . in everyday living.

I found myself roaring with laughter throughout the book. There's lots of use of psychiatry to develop the humor. I thought that the scenes with Irene and Bertie's analyst were irresitible! I didn't know that you could have so much fun while sober in Scotland.


Completely fab book!   March 9, 2005
 37 out of 37 found this review helpful

This book is wonderful, and everything you would expect from Alexander McCall Smith at his top form. The characters are engaging and intriguing, and the style of the book keeps you turning the pages. The format is slightly unusual - as this book was originally a daily column in a Scottish newspaper. It means each chapter is v.brief but very contained. The stories are centred round the residents of a house in Edingburgh, and offer slices of life from a variety of characters who lives overlap.
Incidently, he notes at the beginning that the idea for this book was born at a party hosted by Amy Tan, and in conversation with Armistad Maupin - for me that was recommendation enough!