This set shows how hard a word like PUPPY can be in haiku. It is so emotionally preloaded and cute by default that it can flatten the third line unless the poem gives it a specific scene-function first. Debbie Wilson’s “On the STAIR – toy BLOCK / FUNNY DUMPY GUPPY swims / PUPPY sleeps nearby” is a strong example of handling that well: the constraint words are absorbed into one coherent domestic environment, so PUPPY arrives as part of the composition rather than as the whole point of the poem. Across the set, the stronger entries use the target word as relation, reveal, jealousy trigger, or background presence, which keeps the constraint from turning the haiku into a punchline or sentiment cue.