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A fantasy romance, by dazzling new talent Sarah Underwood, inspired
by Greek mythology and the tale of Penelope’s twelve hanged
maids. ‘A lavish epic of power, vengeance, love and fate.’ YA
Book of the Month in The Observer (2/4/2023) ‘A lovely, lyrical
fantasy which takes the fate of the hanged maids of the Odyssey and
weaves something brand new. A story overflowing with emotion and
full of magic.’ Jennifer Saint, bestselling author of Ariadne and
Elektra In the cursed kingdom of Ithaca, each spring brings the
hanging of twelve maidens, a gift to the vengeful Poseidon. But
when Leto awakens from her death on the shore of a long-forgotten
island, its enigmatic keeper Melantho tells her that there’s only
one way the curse can be broken. Leto must kill the last prince of
Ithaca . . . In Lies We Sing to the Sea, debut author Sarah
Underwood delivers a thrilling and breathtaking tale that will
enthral readers from the very first page as they are transported to
the cursed shores of Ithaca. A reclamation of a story from
thousands of years ago, Lies We Sing to the Sea is about love and
fate, grief and sacrifice, and, ultimately, the power we must find
within. ‘Gorgeous, tragic, and timeless, Underwood’s LIES WE
SING TO THE SEA makes an age-old story feel new again. This is
Greek tragedy at its best: sweeping in scope yet deeply intimate in
characterization. This book will break your heart.’ – Grace Li
Sunday Times bestselling author of Portrait of a Thief
A stunning fantasy romance, inspired by Greek mythology.
On the island of Zakynthos, nothing is more powerful than Desire―love
itself, bottled and sold to the highest bidder by Leandros, a
power-hungry descendent of the god Eros.
Eirene and her beloved twin sister, Phoebe, have always managed to
escape Desire’s thrall. Until Leandros’ wife dies mysteriously and he
sets his sights on Phoebe. Determined to keep her sister safe, Eirene
strikes a bargain with Leandros: if she can complete the four elaborate
tasks he sets her, he will find another bride. But it soon becomes
clear that the tasks are part of something bigger; something related to
Desire and Lamia, the strange, neglected daughter Leandros keeps locked
away.
Lamia knows her father hides her for her own protection, though as she
and Eirene grow closer, she finds herself longing for the outside
world. But the price of freedom is high, and with something
deadly―something hungry―stalking the night, that price must be paid in
blood . . .
A fantasy romance, by dazzling new talent Sarah Underwood, inspired
by Greek mythology and the tale of Penelope's twelve hanged maids.
'Gorgeous, tragic, and timeless, Underwood's LIES WE SING TO THE
SEA makes an age-old story feel new again. This is Greek tragedy at
its best: sweeping in scope yet deeply intimate in
characterization. This book will break your heart.' - Grace Li
Sunday Times bestselling author of Portrait of a Thief In the
cursed kingdom of Ithaca, each summer brings the hanging of twelve
maidens, a gift to the vengeful Poseidon. But when Leto awakens
from her death on the shore of a long-forgotten island, its
enigmatic keeper Melantho tells her that there's only one way the
curse can be broken. Leto must kill the last prince of Ithaca . . .
In Lies We Sing to the Sea, debut author Sarah Underwood delivers a
thrilling and breathtaking tale that will enthral readers from the
very first page as they are transported to the cursed shores of
Ithaca. A reclamation of a story from thousands of years ago, Lies
We Sing to the Sea is about love and fate, grief and sacrifice,
and, ultimately, the power we must find within.
A fantasy romance, by dazzling new talent Sarah Underwood, inspired
by Greek mythology and the tale of Penelope's twelve hanged maids.
"A lovely, lyrical fantasy which takes the fate of the hanged maids
of the Odyssey and weaves something brand new. A story overflowing
with emotion and full of magic." Jennifer Saint, bestselling author
of Ariadne and Elektra 'Gorgeous, tragic, and timeless, Underwood's
LIES WE SING TO THE SEA makes an age-old story feel new again. This
is Greek tragedy at its best: sweeping in scope yet deeply intimate
in characterization. This book will break your heart.' - Grace Li
Sunday Times bestselling author of Portrait of a Thief In the
cursed kingdom of Ithaca, each spring brings the hanging of twelve
maidens, a gift to the vengeful Poseidon. But when Leto awakens
from her death on the shore of a long-forgotten island, its
enigmatic keeper Melantho tells her that there's only one way the
curse can be broken. Leto must kill the last prince of Ithaca . . .
In Lies We Sing to the Sea, debut author Sarah Underwood delivers a
thrilling and breathtaking tale that will enthral readers from the
very first page as they are transported to the cursed shores of
Ithaca. A reclamation of a story from thousands of years ago, Lies
We Sing to the Sea is about love and fate, grief and sacrifice,
and, ultimately, the power we must find within.
With current environmental, social and financial challenges facing
society and the economy, there has been a rapid growth in interest
in the role of social and sustainable enterprise. Accordingly, as
government, industry and communities seek to find alternative ways
to deliver product and services, this volume seeks to draw together
contemporary entrepreneurial research which addresses current
social and environmental issues, such as: social and community
enterprise and entrepreneurship, including the tension between
maintaining core social aims and continuing to prosper in a highly
competitive and turbulent marketplace. Sustainable entrepreneurship
and environmental impacts of enterprise, for example the pursuit of
environmentally-responsible opportunities by mainstream
enterprises, the creation of self-consciously 'eco-preneurial'
ventures and more radical models that challenge prevailing
assumptions about enterprise and growth; and ethics, enterprise and
social responsibility, including the growth of ethical markets and
the opportunities they create, such as providing services for
disadvantaged groups or facilitating markets in fairly-traded goods
and services.
The interpretation of the phrase 'the testimony of Jesus' in the
Book of Revelation has been the centre of much debate, with no
clear consensus regarding its meaning. One of the most important
but often neglected issues is whether or not the phrase can be read
consistently across each instance of its occurrence. The opening
lines of the Apocalypse clearly specify that 'the testimony of
Jesus' is a moniker for the book of Revelation itself, indicating
that the phrase is an internal self-reference to the book's own
message. Nevertheless, most interpreters are reluctant to apply
this interpretation to the phrase in other parts of the book,
leading to varied and inconsistent interpretations of the phrase.
Following the intratextual pattern of the apocalyptic books of
Daniel and 1 Enoch we can see that it is entirely possible that
'the testimony of Jesus' is a reference to Revelation's own
message, an interpretation which is then supported by Dixon's
in-depth study of each of the passages in which the phrase occurs.
The exploration of the rhetorical impact of interpreting the phrase
in this way shows that 'the testimony of Jesus' is not just another
title for John's writing, but is something that is given to and
even characterizes those who hear the message of the Apocalypse.
The interpretation of the phrase 'the testimony of Jesus' in the
Book of Revelation has been the centre of much debate, with no
clear consensus regarding its meaning. One of the most important
but often neglected issues is whether or not the phrase can be read
consistently across each instance of its occurrence. The opening
lines of the Apocalypse clearly specify that 'the testimony of
Jesus' is a moniker for the book of Revelation itself, indicating
that the phrase is an internal self-reference to the book's own
message. Nevertheless, most interpreters are reluctant to apply
this interpretation to the phrase in other parts of the book,
leading to varied and inconsistent interpretations of the phrase.
Following the intratextual pattern of the apocalyptic books of
Daniel and 1 Enoch we can see that it is entirely possible that
'the testimony of Jesus' is a reference to Revelation's own
message, an interpretation which is then supported by Dixon's
in-depth study of each of the passages in which the phrase occurs.
The exploration of the rhetorical impact of interpreting the phrase
in this way shows that 'the testimony of Jesus' is not just another
title for John's writing, but is something that is given to and
even characterizes those who hear the message of the Apocalypse.
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