I pretended the lust was voices
And I wrote down the voices
And sometimes the voices spoke as I had written them
To confirm what I already knew
Which is that I am a child and ready for pettingComplete poem available online at The Rumpus
I confess that I’ve been a bit puzzled, maybe even slightly put off, by the Broder phenomenon. She earned her MFA, has published several poetry collections since 2010 (including the one featuring this poem), and her bio at Poetry Foundation lists leadership work with literary magazines and organizations. Yet she became a sensation because of her melancholic tweets (@sosadtoday) and her same-titled book of essays about vulnerability and insecurity and, well, being sad – a book she herself felt might make others take her less seriously as a poet, a book that ended up enshrined in everything from Rolling Stone to Elle to The New Yorker. In the film Broadcast News, dysphoric reporter Allen Brooks whines, “Wouldn’t this be a great world if insecurity and desperation made us more attractive? If “needy” were a turn-on?” Turns out, in the right hands, it can be.
I can’t dismiss this poem, and not only because Broder was a prolific and respected poet before her Twitter fame. There’s a powerful haunting quality to it that touches me: the build to the last line, the echo after the words go silent like the click of a closing door, a hollow openness reminiscent of the quality Sinéad O’Connor brought to “Sacrifice”. My admiration for Elton John knows no bounds, but it took O’Connor to expose the emotion, as Broder does with Brooks’ well-defended comedic lament.
Maybe it’s a new confessionalism. Maybe it’s just relief that someone else gets it. I’ve said often I don’t pretend to know what’s “good” and what isn’t; sometimes I don’t even know exactly what it is I feel when I read something; but I still know when I feel something intense, something important, and I did. Isn’t that what a successful poem does?