Daniel Bosch on Daisy Fried’s poem “Torment”

Here is a fine reading by Daniel Bosch of one of the best poems of the last few years, Daisy Fried’s “Torment,” from her Women’s Poetry: Poems and Advice (2013). I wonder, though, if Bosch is right? That is, is it true that “Torment” doesn’t allow any ironic distance between the character and the creator/narrator? The difference isn’t secure, true, just as the “Daisy” character can’t feel smugly superior to the confusions of the Princeton students; all this makes for powerful drama. But Bosch’s reading undercuts the reflective power of the poem, its ability to see ironies in retrospect that you can’t see when immersed in experience as it unfolds. That’s another level of “torment,” but also suggests something else: the poem does more than lacerate its characters and author. The Larkin comparison is brilliant, but I’m really struck by how Larkin resorts to quasi-religious/Christian imagery and allusions to generate ironic distance from unthinking happiness or envy in “High Windows,” whereas Daisy on the Dinky train does not (except perhaps via the distant echo of Dante in the title). That said, the depth of this reading definitely honors “Torment,” a poem that’s well worth reading and re-reading. [Full disclosure: Daisy Fried is a Swarthmore grad, but that has little to do with why I so admire this poem.]


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