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A visceral new collection from esteemed poet Stephan Torre,
grappling with the strength and complexities of life in the
northwest wild lands. Drawing from a life lived well, amidst hard
work and time for reflection in the northwest wild lands of the
Canadian and American Wests, Stephan Torre returns to the literary
world with his usual descriptive and lyric intensity. Comprised of
new and selected poems, Red Obsidian explores the necessary
tensions that arise between genders and the pain and grief of
environmental loss. Inspired and influenced by a diverse array of
literary influences-Indigenous oral poets and English pastoral
poets, T'ang Dynasty Chinese poets and Latin American poets,
American Imagists and poets Theodore Roethke, James Wright, and
W.S. Merwin-Torre's book is a poetic journal of a man passionately
engaged at once with the marvel of wilderness and the rural labours
of family homesteading, construction, and the logging of that
wilderness. "When there's more joy or grief or hunger for knowing
than I could express or explore elsewhere, I'm afflicted with the
need to squeeze language from my fists. One can only hold so much
inside," admits Torre. Readers will feel the torque, squeeze, and
pull in these poems.
This volume addresses foundational issues concerning the nature of
first-personal, or de se, thought and how such thoughts are
communicated. One of the questions addressed is whether there is
anything distinctive about first-person thought or whether it can
be subsumed under broader phenomena. Many have held that
first-person thought motivates a revision of traditional accounts
of content or motivates positing special ways of accessing such
contents. Gottlob Frege famously held that first-person thoughts
involve a subject being 'presented to himself in a particular and
primitive way, in which he is presented to no-one else.' However,
as Frege also noted, this raises many puzzling questions when we
consider how we are able to communicate such thoughts. Is there
indeed something special about first-person thought such that it
requires a primitive mode of presentation that cannot be grasped by
others? If there really is something special about first-person
thought, what happens when I communicate this thought to you? Do
you come to believe the very thing that I believe? Or is my
first-person belief only entertained by me? If it is only
entertained by me, how does it relate to what you come to believe?
It is these questions that the volume addresses and seeks to
answer.
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