Under tennis courts in the ruins of a great abbey, archaeologists find the remains of St Edmund, once venerated as England's patron saint, but lost for half a millennium. Culture Secretary Marina Spencer, adored by those who have never met her, scents an opportunity. She promotes Edmund as a new patron saint for the United Kingdom, playing up his Scottish, Welsh and Irish credentials. Unfortunately these are pure fiction, invented by Mark Price, her downtrodden aide, in a moment of panic. The only person who can see through the deception is Mark's cousin Hannah, a member of the dig team. Will she blow the whistle or help him out? And what of St Edmund himself, watching through the prism of a very different age? Splicing ancient and modern as he did in The Hopkins Conundrum and A Right Royal Face-Off, Simon Edge pokes fun at Westminster culture and celebrates the cult of a medieval saint in another beguiling and utterly original comedy.

Mel Winterbourne's modest map-making charity, the Orange Peel Foundation, has achieved all its aims and she's ready to shut it down. But glamorous tech billionaire Joey Talavera has other ideas. He hijacks the foundation for his own purpose: to convince the world that the earth is flat. Using the dark arts of social media at his new master's behest, Mel's ruthless young successor, Shane Foxley, turns science on its head. He persuades gullible online zealots that old-style 'globularism' is hateful. Teachers and airline pilots face ruin if they reject the new 'True Earth' orthodoxy. Can Mel and her fellow heretics - vilified as 'True-Earth Rejecting Globularists' (Tergs) - thwart Orange Peel before insanity takes over? Might the solution to the problem lie in the 15th century? Using his trademark mix of history and satire to poke fun at modern foibles, Simon Edge is at his razor-sharp best in a caper that may be more relevant than you think.

From the author of The End of the World is Flat. The Terg wars are over. Now meet the Yerfs. 'Brilliant! Perfectly captures both the absurdity and horror of this madness' - Gareth Roberts When Tara Farrier returns to the UK after a long spell as an aid worker in war-torn Yemen, she’s hoping for a well-deserved rest. But a cultural battleground has emerged while she’s been away, and she’s unprepared for the sensitivities of her new colleagues at an international thinktank. A throwaway reference to volcanic activity millions of years ago gets her into hot water and she discovers she belongs to the group reviled by fashionable activists as ‘Young Earth Rejecting Fascists’, or ‘Yerfs’. Faster than she can say ‘Tyrannosaurus Rex’, she is at the centre of a gruelling legal drama. In the keenly awaited follow-up to his acclaimed The End of the World is Flat, Simon Edge stabs once again at modern crank beliefs and herd behaviour with stiletto-sharp satire.

It is 1777, and England's second-greatest portrait artist, Thomas Gainsborough, has a thriving practice a stone's thrown from London's royal palaces. Meanwhile, the press talks up his rivalry with Sir Joshua Reynolds, the pedantic theoretician who is the top dog of British portraiture. Fonder of the low life than high society, Gainsborough loathes pandering to grand sitters, but he changes his tune when he is commissioned to paint King George III and his large family. In their final, most bitter competition, who will be chosen as court painter, Tom or Sir Joshua? Two and a half centuries later, a badly damaged painting turns up on a downmarket TV antiques show being filmed in Suffolk. Could the monstrosity really be, as its eccentric owner claims, a Gainsborough? If so, who is the sitter? And why does he have donkey's ears? Mixing ancient and modern as he did in his acclaimed debut The Hopkins Conundrum, Simon Edge takes aim at fakery and pretension in this highly original celebration of one of our greatest artists.

The stained glass windows of Holy Trinity Church at Long Melford in Suffolk are one of the glories of England's medieval heritage. Most stained glass from this period was destroyed in the Reformation, when the Tudor boy king Edward VI ordered religious imagery in churches to be destroyed, and later in the Civil War. The glass at Long Melford is a rare survival. Its mainly secular images show East Anglian dignitaries and their wives, some of them familiar names in the history of the Wars of the Roses, and provide an unparalleled record of 15th-century costumes, heraldry and hairstyles. The 36 line-drawn images based on the figures in the windows - with an introduction on the history of Long Melford and a short biography of each character - will provide hours of colouring entertainment for adults and children alike. Long Melford's stained glass is in urgent need of conservation. All proceeds from the sale of this book go to the restoration fund

Tim Cleverley inherits a failing pub in Wales, which he plans to rescue by enlisting an American pulp novelist to concoct an entirely fabricated "mystery" about Gerald Manley Hopkins, who composed "The Wreck of the Deutschland" nearby. Blending the real stories of Hopkins and the shipwrecked nuns he wrote about with a contemporary love story, while casting a wry eye on the Dan Brown industry, The Hopkins Conundrum is a highly original mix of commercial fiction, literary biography, and satirical commentary.

When gay, pleasure-seeking Stefano Cartwright is almost killed by a wave while at the beach, his journey up a tunnel of light convinces him that God exists after all, and he may need to change his ways if he is not to end up in hell. When God happens to look down his celestial telescope and see Stefano, he is obliged to pay unprecedented attention to an obscure planet in a distant galaxy, and ends up on the greatest adventure of his multi-eon existence. The Hurtle of Hell combines a tender, human story of rejection and reconnection with an utterly original and often very funny theological thought-experiment, in an entrancing fable that is both mischievous and big-hearted.