Gemma is the bored, pretty second wife of Charlie Bovery, the reluctant stepmother of his children and the bête-noire of his ex-wife. Gemma' s sudden windfall and distaste for London take them across the Channel to Normandy, where the charms of French country living soon wear off. Is it a coincidence that Gemma Bovery has a name rather like Flaubert 's notorious heroine? Is it by chance that, like Madame Bovary, Gemma is bored, adulterous, and a bad credit risk? Is she inevitably doomed? These questions consume Gemma's neighbour, the intellectual baker, Joubert. Denying voyeurism, but nevertheless noting every change in the fit of her jeans, every addition to Gemma's wardrobe, her love-bites a nd lovers, Joubert, with the help of the heroine's diaries, follows her path towards ruin. Adultery and its consequences. Disappointment and deception. The English in France. Fat and slim. Then and now. Many familiar ingredients of the novel are given new life in Gemma Bovery's unique graphic form. Like Posy Simmond's legendary cartoon strips featu ring the Weber family, Gemma Bovery will be published in weekly parts in the Guardian.

First published in 2003, Literary Life became an instant classic as readers (and writers) delighted in watching Posy Simmonds skewer the pains and pretensions of the writer's (and reader's) calling with her inimitable flair for witty satire and sharp social observation. As well as all the cartoons and comic strips from the original edition, The Complete Literary Life includes 40 extra pages of cartoons, including the two series Rick Raker and Dr Derek, in which two very different heroes attempt to right the wrongs afflicting the writing world, one by brute force and skulduggery, the other with a silky bedside manner.

Winner of the Grand Prix 2009 de la Critique Bande Dessinee. Tamara Drewe has transformed herself. Plastic surgery, a different wardrobe, a smouldering look, have given her confidence and a new and thrilling power to attract, which she uses recklessly. Often just for the fun of it. People are drawn to Tamara Drewe, male and female. In the remote village where her late mother lived Tamara arrives to clear up the house. Here she becomes an object of lust, of envy, the focus of unrequited love, a seductress. To the village teenagers she is 'plastic-fantastic', a role model. Ultimately, when her hot and indiscriminate glances lead to tragedy, she is seen as a man-eater, a heartless home-wrecker, a slut. First appearing as a serial in the Guardian, in book form Tamara Drewe has been enlarged, embellished and lovingly improved by the author.

A romantic and comic gem from a precocious Victorian nine-year-old that has charmed readers for a century The Young Visiters is a comic masterpiece that has delighted generations of readers since it was first published in 1919. A classic story of life and love in later Victorian England as seen from the nursery window, it was written in 1890 by nine-year-old Daisy Ashford. It all starts when Alfred Salteena, who is 'not quite the right side of the blanket', takes young Ethel Montacue to stay with his friend Bernard Clarke... Daisy Ashford has an exquisite eye for matchmaking and manners in English society, and her tale, with its hilarious observation and idiosyncratic spelling, is as irresistible today as it ever was. This edition of The Young Visiters is illustrated with drawings by Posy Simmonds which are as enchanting and witty as the story. The text has been transcribed from the original manuscript and includes J.M. Barrie's famous preface to the first edition.

***WINNER OF THE COMEDY WOMEN IN PRINT PRIZE 2020*** 'Simmonds is a copper-bottomed genius... she is as brilliant a writer as Britain has' Jenny Colgan, Mail Online Cassandra Darke is an art dealer, mean, selfish, solitary by nature, living in Chelsea in a house worth GBP7 million. She has become a social pariah, but doesn't much care. Between one Christmas and the next, she has sullied the reputation of a West End gallery and has acquired a conviction for fraud, a suspended sentence and a bank balance drained by lawsuits. On the scale of villainy, fraud seems to Cassandra a rather paltry offence - her own crime involving 'no violence, no weapon, no dead body'. But in Cassandra's basement, her young ex-lodger, Nicki, has left a surprise, something which implies at least violence and probably a body . . . Something which forces Cassandra out of her rich enclave and onto the streets. Not those local streets paved with gold and lit with festive glitter, but grimmer, darker places, where she must make the choice between self-sacrifice and running for her life.