Cupid S Paradise

When Doctor Lydia McKenzie's phone rang while lecturing, summoning her to the chief administrator's office, she never imagined it would lead to a Nobel Prize. The vagaries of a data processor, pairs her with her fiancé, Captain William Kelly, United States Air Force, and together they fly into space, becoming national heroes, and world-wide celebrities. Cupid's Paradise takes you on a vicarious adventure - Hollywood style; a love story that pumps your adrenalin to the max.

When Doctor Lydia McKenzie's phone rang while lecturing, summoning her to the chief administrator's office, she never imagined it would lead to a Nobel Prize. The vagaries of a data processor, pairs her with her fiance, Captain William Kelly, United States Air Force, and together they fly into space, becoming national heroes, and world-wide celebrities. Cupid's Paradise takes you on a vicarious adventure - Hollywood style; a love story that pumps your adrenalin to the max.

PATIENT: Dr. Laurel Burton SYMPTOMS: High temperature, racing pulse DIAGNOSIS: Lovesick! TREATMENT: Avoid Dr. Noah Cunningham Noah Cunningham had to be the most infuriating man on the planet. Too bad he was also the sexiest and the handsomest. Laurel didn't know how he'd gotten them stranded at her grandmother's racy bed-and-breakfast, but after four years, he couldn't just waltz back from the big city into her small-town life and expect to take up where they'd left off! Noah had his reasons for coming back, and he knew Laurel wouldn't like them. Getting stranded at Cupid's Hideaway was pure luck—because distracted as she was by trying to avoid the romantic hoopla, Laurel wouldn't notice that this time, Noah wasn't leaving….

This book is the first full-length study to examine Molière’s evolving (and at times contradictory) authorial strategies, as evidenced both by his portrayal of authors and publication within the plays and by his own interactions with the seventeenth-century Parisian publishing industry. Historians of the book have described the time period that coincides with Molière’s theatrical activity as centrally important to the development of authors’ rights and to the professionalization of the literary field. A seventeenth-century author, however, was not so much born as negotiated through often acrimonious relations in a world of new and dizzying possibilities.The learning curve was at times steep and unpleasant, as Molière discovered when his first Parisian play was stolen by a rogue publisher. Nevertheless, the dramatist proved to be a quick learner; from his first published play in 1660 until his death in 1673, Molière changed from a reluctant and victimized author to an innovator (or, according to his enemies, even a swindler) who aggressively secured the rights to his plays, stealing them back when necessary. Through such shrewdness, he acquired for himself publication privileges and conditions relatively unknown in an era before copyright. As Molière himself wrote, making people laugh was “une étrange entreprise” (La Critique de L’École des femmes, 1663). To an even greater degree, comedic authorship for the playwright was a constant work in progress, and in this sense, “Molière,” the stage name that became a pen name, represents the most carefully elaborated of Jean-Baptiste Poquelin’s invented characters.