This study is an attempt to examine what Sharon Olds does with her provocative language and how she goes beyond sensationalism, while her popularity is sometimes suspected to come mainly from her sensual voice. Olds`s sensationalism is triggered by the use of foul language, such as cock and cunt, with which she even denotes her own parents as in “Satan Says.” It is again enriched by the way she persistently provides details about what we are not likely to make public, such as her elaborate account of her father`s salivation on his deathbed in “The Glass” or her first experience of using contraceptive device in “Diaphragm Aria.” It is also intensified when she deliberately and candidly deals with embarrassing female experiences, such as menstruation in “The Moment” or abortion in “Miscarriage.” However, among other things, Olds`s sensationalism is mostly stirred up in her presentation of bodily love with vivid images as in “Sex without Love” or “Ecstasy.” Olds is enthusiastic in the depiction of what might be realized in human bodies such as the moments during sexual intercourse, pregnancy, birth, and death. As a domestic poet, she covers all the bodies of her family, among which her father`s becomes a good example to prove how much her sensational language can be contributable to a new notion of a mortal in all of its potentialities and limits. Her father`s body speaks to her polyphonically in Olds`s poems as patriarchic, masculine, and material.