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"It was a wonderful experience interacting with you and appreciate the way you have planned and executed the whole publication process within the agreed timelines.”
Subrat SaurabhAuthor of Kuch Woh PalZarina Sani is a Mumbai-based consultant by day and a storyteller by instinct. Having grown up moving from city to city as the daughter of a Navy officer and extremely creative mother, she developed an early fascination with places, histories, and the invisible threads that bind people to them. Greek mythology has held her imagination for as long as she can remember—through stories, paintings, sculptures, and every adaptation she could find. After years of gentle nudging from loved ones, she finally put pen to paper and began writing the story that would not leave her alone. This is her debuRead More...
Zarina Sani is a Mumbai-based consultant by day and a storyteller by instinct. Having grown up moving from city to city as the daughter of a Navy officer and extremely creative mother, she developed an early fascination with places, histories, and the invisible threads that bind people to them.
Greek mythology has held her imagination for as long as she can remember—through stories, paintings, sculptures, and every adaptation she could find. After years of gentle nudging from loved ones, she finally put pen to paper and began writing the story that would not leave her alone.
This is her debut novel. When she is not working or writing, she designs interiors—another way of building worlds from the ground up.
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When a body crashes onto the palace stone, Ariadne knows something in their world has shifted beyond repair. The dead man—Orpheus—was not simply a scholar or court favourite. He was investigating something dangerous. And the parchment found hidden on his body is not a confession, but a warning. Or a lure.
In the days that follow, Ariadne retreats with Perseus and Atalanta into a world of fractured frescoes and forgotten vaults where they begin to tr
When a body crashes onto the palace stone, Ariadne knows something in their world has shifted beyond repair. The dead man—Orpheus—was not simply a scholar or court favourite. He was investigating something dangerous. And the parchment found hidden on his body is not a confession, but a warning. Or a lure.
In the days that follow, Ariadne retreats with Perseus and Atalanta into a world of fractured frescoes and forgotten vaults where they begin to trace the threads Orpheus left behind. The message he uncovered speaks of prophecy and riddles, of patterns repeating through generations. But as Ariadne studies the symbols more closely, she realises the truth is far more disturbing: someone has manipulated fate.
As suspicion coils tighter around the palace, identities begin to fracture. Old alliances grow brittle. Trusted names feel uncertain on the tongue. The deeper Ariadne digs, the clearer it becomes that the killer is not acting in chaos but with deliberate precision. Each clue is placed to mislead.
And someone is always one step ahead.
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