Another Lovejoy book with a particularly implausible plot, allowing Gash to place his hero in Hong Kong (not contemporary 1980s Hong Kong, but the 1960s city that the author clearly knew well and loved) for fun with organised crime, sex work and inventing a previously unheard-of Chinese Impressionist painter. The antiques scam itself is as beautifully detailed as Gash's description of the city, and Lovejoy is clear that the criminality in which he becomes enmeshed is a consequence of capitalism rather than ethnicity or culture. But the mechanisms for getting him to Hong Kong in the first place, and then out again in the end, are hopelessly contrived. Generally good fun though.