In this masterful combination of theological satire and book-world farce, the bestselling author of The Crimson Petal and the White allows his storytelling talent free rein.

Theo Griepenkerl is a scholar of ancient languages, grudgingly resigned to a life of obscurity. Then, on an artefact-finding mission to Iraq, he 'rescues' some Aramaic scrolls from a bombed museum and smuggles them home to Canada. Translating furiously, Theo reveals the work of a scribe called Malchus: an early Christian and a contemporary of Christ himself. It is a fifth gospel that gives an all-too-frank eyewitness account of the Crucifixion. It could have incendiary implications for the faith of millions. But in the meantime Theo Griepenkerl has a publishing sensation to promote...

By turns comic, thought-provoking and shocking, The Fire Gospel, another title in the International Myths Series is a celebration of human fallibility that will delight Faber fans old and new.

Michel Faber has written six previous books, including the novels The Fire Gospel, Under the Skin and The Crimson Petal and the White. He has won several literary awards, among them the Neil Gunn, Ian St James, Macallan and the Saltire First Book of the Year Award. Born in Holland and brought up in Australia, Faber now lives in the Scottish Highlands.

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'This highly entertaining recasting of a Christian myth is witty and intelligent...Highly recommended.' Canberra Times

'This is a man who would give Conrad a run at writing the perfect sentence.' Guardian

'Manages the difficult task of being a hugely entertaining narrative about our depthless human capacity for stupidity, hatred and greed...Faber is a beguiling entertainer.' Geordie Williamson, Australian

'An entertaining story, with a vein of playful symbolism running throughout...A provocative little volume with a strong element of knowing humour. Its most strikingly mischievous feature is that, while it appears at first to be a satire on religious extremism, at root it is a satire on the book business, the pliable nature of readers and the egotism of authors.' Financial Times