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 fantasy romance, by dazzling new talent Sarah Underwood, inspired by Greek mythology and the tale of Eros and Psyche. 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.