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Quote by Fenna Edgewood

“His hair was a dark gold and worn long enough to reach his chin. It had been pulled back into a tight queue for riding and bound with a leather strip, but the wind had pulled it loose and now it flew around his face. Perhaps on another man, the style might have been unflattering. But on Linden Chevalier it only added something more alluring to his presence, and as he lifted a black-gloved hand to push it back, the set of his jaw and twist of his mouth made him look sharp and wicked.”

Quote by Fenna Edgewood

Book:Once Upon a Midwinter's Kiss
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Once Upon a Midwinter's Kiss

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Fenna Edgewood

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“They were close enough that she could finally see him clearly. Her eyes took in the sight of the Scot, standing tall in full Highland dress. “Oh, delightful,” she muttered to herself. She was at her worst, with seaweed hair streaming water, while Wren had apparently decided to put on his Sunday best. And didn’t he look absolutely magnificent! If her heart had not already been doing troublesome things before, it was pounding in brazen excitement as she looked at him now. This was her husband. Dear Lord. This was her husband. He was always a very striking man. The cleft of his chin. His sturdy Roman nose. The softness of his dark, sooty lashes over those gorgeous blue eyes. His height, his breadth, his width. His girth? Briar almost giggled. Shush, she told herself. But now? Gracious, he was unbearably handsome. There was something about a man in a kilt. Especially the way Wren was wearing it. The dark green Renfrew plaid, shot through with its strands of red and white and gold, was already a lovely thing. Against Wren's form, contrasted against his dark hair, it was a god's finery. Every pleat, every fold fitting his leanly muscled physique. She swallowed hard, then took another step.”

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Book:Lady Briar Weds the Scot
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“The ‘healthy’ sign, for Barthes, is one which draws attention to its own arbitrariness—which does not try to palm itself off as ‘natural’ but which, in the very moment of conveying a meaning, communicates something of its own relative, artificial status as well. …Signs which pass themselves off as natural, which offer themselves as the only conceivable way of viewing the world, are by that token authoritarian and ideological. It is one of the functions of ideology to ‘naturalize’ social reality, to make it seem as innocent and unchangeable as Nature itself. Ideology seeks to convert culture into Nature, and the ‘natural’ sign is one of its weapons. Saluting a flag, or agreeing that Western democracy represents the true meaning of the word ‘freedom’, become the most obvious, spontaneous responses in the world. Ideology, in this sense, is a kind of contemporary mythology, a realm which has purged itself of ambiguity and alternative possibility.”

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“Poetry itself, whether we accept this gift or not, is an authentic and artistic way to express the unique story of our lives. As music notes are interpreted by musicians and carried out through different instruments, so too is poetry interpreted through the eyes of the heart.”

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“Like the Critical Theory of the Frankfurt School, postmodernism seeks to institutionalize dishonesty as a legitimate school of thought. The idea of truth as the ultimate goal of the intellectual is discarded. In its place, scholars are asked to pursue political objectives--so long as those political objectives are the 'correct' ones. Postmodernism is not fringe within the community of scholars. It is central. This tells us a great deal about the life of the mind today. Peruse any university course catalogue, and you find names like Foucault, Derrida, and Barthes. Scour the footnotes of scholarly books and journals and a similar story unfolds. With the primacy of philosophies--postmodernism, Critical Theory, and even the right-leaning Straussianism--that exalt dishonesty in the service of supposedly noble causes, is it at all surprising that liars like Alfred Kinsey, Rigoberta Menchu, Alger Hiss, and Margaret Sanger have achieved a venerated status among the intellectuals?”

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“Barthes referred to semiology, the science of signs, in pursuing this task. He followed Ferdinand de Saussure’s claim that a sign is merely the outcome of an arbitrary relationship between a signifier (a word, picture, utterance) and a signified (a concept or mental image to which the signifier gives rise) – implying that the words we use have no fixed meanings in themselves. De Saussure called this ability of the sign to represent or convey meaning signification.”

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Book:Baudrillard for Architects
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