Author Michael Ondaatje says of her work,
"Sharon Olds's poems are pure fire in the hands, risky, on the verge of falling, and in the end leaping up. I love the roughness and humor and brag and tenderness and completion in her work as she carries the reader through rooms of passion and loss."
The New York Times noted in 2009,
"Olds selects intense moments from her family romance — usually ones involving violence or sexuality or both — and then stretches them in opposite directions, rendering them in such obsessive detail that they seem utterly unique to her personal experience, while at the same time using metaphor to insist on their universality."
Charles Bainbridge stated in The Guardian,
"She has always confronted the personal details of her life with remarkable directness and honesty, but the key to her success is the way this material is lit up by a range of finely judged shifts in scale and perspective. Her poems are vivid morality plays, wrestling with ideas of right and wrong, full of symbolic echoes and possibilities."
In 2010 critic Anis Shivani commented,
"Stylistically invariant since 1980, she writes about the female body in a deterministic, shamanistic, medieval manner. Infantilization packaged in pseudo-confession is her specialty... Her poetry defines feminism turned upon itself, chewing up its own hot and bothered cadaver, exposed since the 1970s. Female poets in workshops around the country idolize her, collaborate in the masochism, because they say she freed them to talk about taboo subjects, she "empowered" them... Has given confessionalism such a bad name it can't possibly recover."