- The strength of this poem, aside from the ending, is the repetition of “I’m sitting on the edge of the bathtub naked.” Not only is it a telling line, showcasing your vulnerability in “on the edge” and “naked”, but it also serves as an anchor. The line may change context as the story progresses, but we’re constantly brought back to that same everything-bared moment.

- I feel the progression is another of the poem’s strong points. At first, we are seeing you through David’s eyes; enhanced by you watching him shave, it leaves me feeling like I have been invited to an intimate setting. Later, it becomes an image of shame, surrounded by David’s insistence that you cover your tits (a noticeably vulgar noun choice), smell pretty, don your floral dress, and flee the apartment. A tension is building between his demands and your reluctance to comply, which sets up the ending.

- I have a complaint with “under the window” in the first line. It is ambiguous as to whether it modifies “radiator” or “giant” (I assume the former), and is not adding anything to your story. I think it could be removed.

- “The bathtub wishes it was a lion in a past life.” I like the idea of the line, but I think “had been” would be stronger than “was”. “Was” implies that the possibility may yet exist, but “had been” affirms for us that the bathtub believes this was not the case.

- “In the fog, in the mirror,” feels redundant since it follows “that fogged/ up the mirror.”

- The dehumanizing images of you as a billy-goat and reflected without a mouth were both powerful for me.

- I imagine I do not need to tell you that the ending line sells the poem. It not only fills in the missing pieces from everything prior, it shows us just how unfocused your anger is – “Fuck bees” – and presents a simple truth that we make harsh (always good to let the reader make their own leaps) because of the context.