Sexton’s confessional poems have long been judged for the author’s seeming obsession with presenting a self-centered account. Against critical accusations that confessional poetry is unpleasantly egocentric, I highlight the strong presence of the second person pronoun “you” in Sexton’s confession, which evidences the author’s desire to merge with others. In Sexton’s poems, the speaker’s personhood is accrued, managed, and negotiated by the eyes of an all-too-present second person. As such, the “you” enables the admission of the speaker’s guilt, a process during which the “I” and the “you” become implicated by each other’s complex sets of identification. Also, the obscurity in denotation in the pronouns indicates that the “I” and the “you” are fastened together, so much so that the speaker can only be formulated in relation to the addressed “you.” As is often shared in the form of a collective reading experience with the audience, Sexton’s confession shakes the rigid boundary between the “I” and the “you,” the private and the public, and the print page and the live performance. Sexton’s extraordinary construction of personhood reminds us that the first person as well as the second person imagined in her confession are not isolated subjects, but rather are vulnerable, dependent beings in a relationship who are open to pain and humiliation.