Read Last Sext by Melissa Broder Online


What emerges is an infinite series of false endings—each a trap door containing the possibility for alchemy, rebirth, and renewal. Part elegy, part confessional, part battle cry, Last Sext confronts both eternal longing and the mystery of mortality, with language hot, primal, and dark, as Broder’s fans have come to love. ...

Title : Last Sext
Author :
Rating :
ISBN : 9781941040331
Format Type : Paperback
Number of Pages : 80 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Last Sext Reviews

  • Leah Bayer
    2018-12-01 11:18

    I went under my skinWhich was my old skinAnd under the skin of my soulWhich was an old soulThough new to meThere was so much silenceI was surprised to like itPoetry is a tricky thing to review. Reading it is so deeply personal, and a great poem for one person is not an objectively great poem for another. For example: I hate Emily Dickenson. I don't think she is a bad poet, but nothing she's written has moved me at all. I find her very dry. And a lot of people find her one of the best poets to ever write. So when I say I loved and adored Last Sext what I mean is that it spoke to my soul in a way few collections of poetry do.This is a raw, visceral collection. The bones of Melissa Broder are splayed open. It's dark, twisted, and lyrical. There are moments of quiet self-reflection, but more loud and explosive moments of violence (against others, against the self, against god). Gender, self identity, sex, death, and god are the main themes: all things that are pretty much universal, but she handles them in a way that felt so unique. At times the lines are so personal and exposed you almost want to look away, until you realize you identify so strongly with them it brings tears to your eyes. This is not an easy reading collection. There are many changes in tense, pronoun, subject... pretty much any linguistic comfort is turned on its head. There's lots of vomit and drowning and death. The language is at times crude, not for shock value but to highlight the raw grossness of the human experience. The whole book is a struggle, and it reads like one. Nothing is clean or neatly wrapped up. Emotions are not displayed in little glass boxes for the reader to go "oh, yes, I've felt that." They sweep you up like the thematic ocean that runs through many of the poems, and it's easy to get lost in them. If you like darker, more experimental poetry with a depressing twist I would definitely recommend giving this a go, but if you like the more traditional it probably isn't for you.[arc provided by netgalley in exchange for an honest review]

  • Jenny (Reading Envy)
    2018-11-28 18:08

    There are quite a few words that are repeated throughout the poems in this book - vomit, water, cock - you might say it's repetitive, or you might say that the poet is exploring several ideas that won't leave her until she sorts them out in poetic form. That seems to be more what is going on here. The poems explore gender and sex, power and role, sickness and pain, but in tangible, visceral, words of experience.Some of my favorites (my copy has the titles all in caps): LUNAR SHATTERSWHAT WE LOVE MOST IS DEFINITELY GOING TO KILL US HALLELUJAHTHE VANISHING WOMANDUST MOANBROKEN OCEANCHROME COUNTRY (which seems like a follow up to hallelujah earlier)(If you've never heard of Broder before, a recent poem is available online. Although Salt is not in this volume, it is similar in tone to what you will find here.)I received a review copy of this book through NetGalley in exchange for an honest review.

  • Ju$tin
    2018-12-03 19:12

    i really like her twitter feed and would recommend following it but i really did not like this book. i'm sure her newer published stuff is better

  • Ariadne
    2018-11-25 17:13

    This collection will speak to a lot of people. Unfortunately I was not one of them. On the surface this collection has a lot going for it that appeals to me: the tension between the sacred and the profane, existential dread, exploration of the ephemeral and mortality, diving into gender and sexuality, etcetera. However, the collection as a whole fell flat for me. Broder uses a great deal of repetition in her poems, which can be fine. That repetition also echoes through the entire collection, which can also be fine if done well. This was not, in my opinion, done well. He language is harsh and sparse, which makes the repetition feel, well, repetitious. I couldn't shake how much it felt like I was reading the same poem over and over again - the same words rejumbled in a different order, like refrigerator poetry. Again, this sort of device could be used to brilliant effect, but in this case it felt like reading endless revisions.This is an angry, dark, and sexual collection (which I actually enjoy), and there is a lot of meat in here. Most of the poems have at least one brilliant line, they just get swallowed by the work as a whole. The abstract is favored over the concrete, and symbolism rules out over the sensory. For me it felt more like a work of the mind than the heart, despite the sense of immediacy and passion. While I didn't connect to this collection at all I can see how many people will. I just happen to prefer my poetry a bit more grounded in the specific, and more lyrical. I would try Broder again, but in smaller doses.Personal highlights:Lunar ShattersWide SighLong Tomb

  • Vincent Scarpa
    2018-11-28 17:21

    As much as I loved Melissa Broder's provoking and moving and honest essay collection SO SAD TODAY (which is to say: a lot), her poetry *really* doesn't give rise to anything in me beyond mild irritation and some eye-rolling. I read her first collection, MEAT HEART, last year, and the only poem I liked in the whole collection was the final poem. I liked it so much that I scanned a copy of it before giving the book away to someone else. There wasn't one poem in Last Sext I responded to at all, or at least none that I felt I wanted to hold on to. The poems feel unfinished and underthought; drifting demonstrations of the writer trying and then failing to achieve a certain effect, pull off a certain trick. They're also pretty repetitive and therefore don't demonstrate much in the way of range. That being said, if you read one poem from either collection, you'll probably like the whole thing. (And it's obviously completely possible that Broder's poetry just isn't for me!)I hate to write a bad review, because I really did find SO SAD TODAY to be a terrific collection, and I hope it gets some great press when it comes out this month. And because Melissa seems like an awesome person. It's just my suggestion that you turn to her essays first, as the poems might scare you off and leave you disinclined to read anything else of hers, and that would be a shame.

  • Evann
    2018-11-30 12:17

    It was okay. Teen Evann would have loved it. There is some great imagery and lines. "And I wear my crown of fuck its" is a fave. Honestly if I was moodier today then I would probably give it a higher rating. It's that good kind of angry.Thanks to Netgalley and Tin House Books for the chance to read and review.

  • Godavari
    2018-11-22 16:16

    Not really sure about my feelings for this poetry collection. I did enjoy and understand (important) a handful of poems. Good stuff. With this, I completed reading two books for Dewey's 24 hour readathon, in October 2017.

  • Elena ( The Queen Reads )
    2018-12-13 17:12

    Poems are made of mistakes.Poems about poetry are mistakes.I look to mistakes and say am I ok? I look to mistakes and say make me ok.Full review on :

  • D'Argo Agathon
    2018-11-29 11:03

    Reading poetry isn't my main hobby, but if you take a look through my poetry shelf, I've certainly explored a number of modern poets, mostly through my graduate creative writing program. It's been a few years now since I graduated, and I'm trying to find my way into new poets I haven't yet explored. Warsan Shire and the ever-awesome Terrance Hayes really stick out. This set of poetry does not. I haven't read any of her other collections, so don't take this as a response to all her work... but this collection is... well, lazy."Long Tomb" sounds like Lana Del Rey's "Cola", but with none of the husky singer's inventiveness: "My pussy tastes like rain to you /.../ my pussy taste like pussy". Interesting enough for its point about not being interesting... but you can't carry a whole collection on that principle. In fact, "Long Tomb" just repeats "Cosmic Ditch": "I look to mistakes and say am I ok? / I look to mistakes and say make me ok" and "Will you be ok? asks the old god / You will be ok, says the new god". This doesn't seem to be so much as she's thematically tying pieces together, but that she's just repeating herself; it reads like a lack of revision.The anaphora of "me" and "and" and "you" and "I" can certainly work in a few poems, but when all 70 or so of these poems do it... my god, does it get boring. I remember that I used to talk about "poetic stamina" in grad school -- the kind of poetic, literary, and conceptual conditioning and constitution that goes into creating long, sustained ideas; Martin Espada has it. Broder... from this collection, she doesn't. For a book about contradictions and the value (or absurdity) to be gleaned from these little deaths and repetitions, I'm bored. And I shouldn't be! That's such a phenomenal conceit. But Broder's execution is all so simple and lazy. From "Big Tide": "Nothing was made for me / I have to keep making it / Everything was made for me". There's no context, there's no development, there's no connection. There's just a lot of discombobulation and randomness. I will say that "Big Tide" actually doesn't end that badly: "You ask me to define evil / I don't know I can't / I can only say there are things that stand / In the way of other things / And the ocean murders all of them". Those lines are basically how I feel about this collection. It just stands in the way, and when I put the book away, none of it mattered anyway.

  • Brian
    2018-12-13 16:22

    Every poem in this collection sounds exactly the same. I don't mean that in the "clear voice" kind of way; I mean they all read as being the same poem typed out slightly differently. There are a handful of decent lines, but for the most part once you've read the first couple poems you've read the entire book.

  • Bruno
    2018-11-21 19:13

    The shadows of boys in the sunThey are forever and I am meltingMaybe I can be here just this onceMaybe I can eat the part that is dyingMaybe I’ll shit out the minutesI have been waiting to be split open________________And why must the quiet be so quietAnd why can’t the quiet have a cockAnd where is its violet mouthIts ten fingers with which to fix meAnd where is its belly breathingAnd O I want to be fixedBut I am already fixedWhy don’t I feel it________________I walk through the wrong doorPressed head and nothing is enoughI am looking for ways to get outI am investigatingAnd I do remember the skyI remember living upIf only I was blankedThe ground would give me a hugCome in and wolf meEnter the chambers and be themShipwreck and bathe in blankWe are talking serious baptismAnd I know where not to goAnd I know where not to goAnd I run right to that placeAnd it’s gleaming

  • Conor Heilferty
    2018-11-29 16:10

    Melissa Broder's poems feel like biting into a piece of raw meat in that they are primal, bloody, and raw. Images and emotions you feel close to, yet uncomfortable with at the same time. She packs a punch and sometimes it was all I could do not to flinch. I'll definitely be going back to more of her work soon!

  • James
    2018-12-19 14:27

    Although the poems in this collection are not for everyone, they stir a lot of different dark feelings and issues - confusion, identity, sex, sensuality, mortality, power, love. There are no clear answers here, only exploration, but the yearning in these poems is powerful. [I received an advanced e-galley of this book from Netgalley. The book is due to be published June 13, 2016.]

  • Samantha
    2018-11-27 16:15

    Not totally like her other collections, and the pieces tend to blend together in their style and content, but I do love Broder for her grotesque-ness, for her willingness to write poems about body parts and holes being filled and emptied and other things that people still like to argue women shouldn't write about.

  • Alicia
    2018-12-06 15:12

    I like dark, I like passionate, I like brooding, but this wasn't anything that I enjoy in poetry. I was expecting to be moved in some bottom corner of my heart or gut but instead didn't find the words beautiful or lyrical nor the collection as a whole engaging.

  • Kelly Clark
    2018-11-24 15:19

    I don't usually read poetry, but I liked So Sad Today so much that I preordered this one and read it all in one night. It's intense and almost an artistic experience more than reading a book the way you would read a novel. I really loved it and was moved by it. I might read more poetry.

  • Andi Leigh
    2018-12-07 17:00

    Though I didn't love every single poem, some of these are on FIRE. Also loving that since Melissa Broder owned her vomit fetish in So Sad Today, she puts in front and center in her poetry for this book. Recommend.

  • Charlotte Hayden
    2018-12-05 11:00

    Real and dark.

  • Christina
    2018-11-24 15:06

    this was so hard for me to read. I enjoy poetry but this book I did not enjoy sadly. I am so confused of what I read, and what I seemed to understand was disturbing.

  • electrise
    2018-11-25 15:02

    every poem has at least one PERFECT line, but in the midst of a pile of incomprehensible horseshit_ebooks. that ted hughes feel except that i would hang out with her.

  • Weishubuduo
    2018-12-15 13:04


  • Jennifer Slavik
    2018-12-11 12:10

    The Last Sext encompasses a macabre theme throwing taboos like vomit, shit and uncut cocks all over her poetry to compliment the uncomfortable issue of death which she unveils-- whether it be through the emotional demolition of self, the value of love in others, or the ultimate decay in flesh.First starting, I was convinced Broder was going to revolve the poetry around the crisis of gender identity and the discrimination followed with it. Her first several poems, LUNAR SHATTERS, COSMIC DITCH, GLOWING LOSER all have recurring patterns. However, after several attempts to find evidence of a sex change or any epicene in her bio, nothing popped up. Then she quickly dropped the content of her male persona in her later poems and I heard no longer of her “broken young man parts.” I have several theories as to why she did this but none I’m stuck on. I first assumed she is trying to be an empty vessel who speaks on behalf of everybody. For example, such as how Keats and T.S. Eliot state how the genius of the poet lies in the transcendence of the ordinary self and the loss of identity, so that the poet may live a 100 lives. But nah, so then I thought maybe she's alluding to the bible. How first there was man and God broke a rib off and thus woman was grown/ evolved. Evidence of this is in her first line of LUNAR SHATTERS, “I came into the world a young man/ Then I broke me off.” It’s all still fermenting... but definitely enjoyed her poetry. Glad a friend snagged it for me at some NY bookstore as a late xmas gift.Also, unlike other commenters, I find her Twitter annoying. Maybe it’s because I’m too recent a follower and I’ve only witnessed the crumbling peak, but I prefer to read her pages over posts.

  • Amelia Harrington
    2018-11-21 18:09

    This is the gut punch kind of poetry when it is working best; Melissa Broder is the gut punch kind of poet; it gets stuck like when I was a kid and ran too much and had a cramp in my chest gut below my lungs and would stop running and gulp down water and the sharp hurt wouldn't stop, those gasping breaths wouldn't be enough, but in hindsight I miss and need those strong feelings like running too much because they are being alive, and Melissa Broder brings those into this world I live in now with rent and men and cooking my own dinner, and shows me how they are worth having, and how awful gut punch it is to live a life worth living. It gets me making an account on a book reviewing website. I think this poetry book is setting out to accomplish a pretty specific thing about the gut punch and I think from how much it has been stuck in my gut for the last months, it has won.

  • Downward
    2018-12-18 12:02

    Melissa Broder's poetry is very focused on the body and its products and our relationship to those products, in particular vomit and breastmilk, framing both of those in a way that presents them as both intimate in a connective way and intimate in a sexual way. there's also a terrible sadness to a lot of this, narrators trying to fill an empty space or empty a full space through sex that doesn't always feel entirely emotionally safe. a lot of these feel like love poems shouted from a cave by a person who is alone. they can be harrowing to read, but worthwhile.

  • Izzy Lorjuste
    2018-12-15 11:06

    Actually a 3.5 I didn't hate this collection - it's pretty alright. But that's all I can say about it. It's pretty alright. I can definitely see how people could connect to it and why some people would love it. But, unfortunately, I wasn't one of those people and I only connected to a few poems. I did enjoy the vibe of it a lot though, which bumps its rating up a little.

  • Chris
    2018-11-28 13:17

    Broder's language is glittering and jagged, with a particular running vocabulary that gets reinforced by the overall effect of the collection rather than any one poem specifically. "Angels", "water", "light", "not giving a fuck", "dogs". They circle around each other, thinking of things that die and disappear and being a warrior bent on destruction.

  • whitney
    2018-11-27 18:15

    Some of these are very [waka flocka voice] ...Okay, but some others are sitting on my chest like a rock - especially right now - so here we are. Been a while since I really absorbed a bit of poetry and I'm glad I picked today

  • A.
    2018-12-19 18:04

    Those who follow the author on Twitter and have read her other works will find that the Las Sext addresses recurring themes, such as (mental) illness, sex and existential dread. Regardless, the poems are unapologetically honest and vivid.

  • Jackie
    2018-12-07 12:18

    I didn't find myself responding to any particular poem, which obviously doesn't mean that someone else wouldn't. Just not my particular jam.

  • manasa k
    2018-11-18 16:18

    following melissa broder on twitter was the best decision of my lifefavorite poems:Cosmic DitchLike a Real FlameInstant RainWide SighRekillingHoney FieldLong Tomb