This beautiful dust jacket for Mark Derby's The Tigress was painted by the very talented British artist John Rose for William Collins Sons & Co. in 1959. You'll remember that we already did a deep dive into Mark Derby's Womanhunt a bit ago. This is the same novel under its original title. Interesting, isn't it, that for U.S. readers the decision-makers at Ace Books thought Womanhunt was a better title? In any case, it's a very good novel. 

We were attracted to the 1958 John Boswell thriller The Blue Pheasant not only because of the lovely cover art, and the tale's setting in East Asia and New Zealand, but because the title suggests that a bar plays a central role. We always like that, whether in fiction or film. The teaser text confirms it. The title refers to a fictional bar in Hong Kong. Irresistible.

The book stars professional photographer, amateur painter, and rolling stone Chris Kent, who's at desperate ends and takes a job to travel from Hong Kong to far away Auckland to recover two Chinese scrolls that are the keys to a vast inheritance. Needless to say, there are other interested—and ruthless—parties. In addition there are three femmes fatales: Sally Chan, the bar dancer who puts Kent onto the job; Sonya Sung, whose family are the rightful owners of the misplaced scrolls (or are they?); and Ann Compton, mystery woman who becomes Kent's reluctant partner.

We were amused by how easily Kent's head was turned by all three women. He's tough, but he's also an all-day sucker. In trying to sort out why women are so confounding to him, there are numerous moments of, “Well, what's a guy to do when women are ________” By the end, though, he starts to wonder if he's the problem. Spoiler alert: pretty much. The actual caper is well laid out, with a lot of sleuthing and surveillance, a few moments of swift action, a suspicious Kiwi cop, a love/hate dynamic between Kent and Compton, and precise local color in both Hong Kong and Auckland.

We consider The Blue Pheasant to have been a worthwhile purchase. That was actually almost a given, considering the low price for the book (Seven dollars? Sold!). But our point is that you never know what you'll get with a writer as obscure as Boswell. Well, now we do. And we have his sequel, 1959's Lost Girl. We'll get around to reading that later.

Turning back to the cover for a moment, the example at top is one we downloaded from an auction site because the William Collins Sons & Co. edition, which is a hardback with a dust jacket, shows the wonderful art painted by British talent John Rose to best advantage. The edition we actually bought is a paperback from Fontana Books, and our scans of that appear below. They're fine, but the cleaner Collins version is frameworthy. We have another Rose cover at this link, and we'll be getting back to him again shortly.