This is a hard haiku constraint because CRUDE is blunt, judgmental, and tonally heavy. It can flatten a poem if it arrives only as insult or summary. The stronger entries solve that by making the word emerge from a specific social or emotional situation rather than using it as a generic verdict. Mick’s “we all shout ‘no kings!’ / and BRACE for a CRUDE response — / street flowers trampled” is a good example: the constraint words are absorbed into one live public scene, so CRUDE arrives as behavior with consequence, not just an adjective. Across the set, the better poems give the target word a real job — seduction, admonition, persona, defiance, or political aftermath — which keeps the haiku from going flat.