This article is an effort to characterize the poetical subject of Sharon Olds by examining her erotic voice. She strategically uses the most provocative language, such as cock and cunt, to shock readers, while shamelessly exposing not only sexual activities of her own but also those of her parents, sister, and children. Her popularity among general readers, apparently coming from her wide openness to sex, sometimes arouses critical response that she is sensational, repetitive, and shallow. However, Olds’s scandalous language is often successful in charming readers to listen to her inner voice, erotic as it may be, to what goes beyond sensationalism. First, Olds’s sensational verbal usage can be acknowledged as a legitimate approach to literature if only supported by her candidness, and contributable to conjuring up thematic potentialities as in “The Pope’s Penis” and “Ode to the Clitoris.” Second, her seeming repetitiveness harbors varieties and even developments as the motif of sex and love changes from about parents’ puritanical pressure to about her father on his deathbed, and to about divorced husband. Additionally, her poetry sometimes deals with other subject-matters than sexual eroticism as in “Still Life in Landscape.” Third, in her most successful poems, such as “Sex without Love” and “Stag’s Leap,” she is so versed at using multi-layered metaphors, and so complicated in responding to sex and body, as to show her sense of balance and thematic depth.