This set is a good reminder that constraint words do not all arrive with the same friendliness. Some words come with an easy image attached; others arrive like little chunks of metal and have to be worked into shape. That is where Worku gets interesting. A useful strategy is not to force every constraint word to shine equally, but to build one stable scene and let the hardest word become texture, tool, or problem inside it. Mick’s poem shows that difficulty clearly: with words like claim, inset, fried, and diver, the language wants to pull in different directions at once. That can make the poem feel strained, but it also points to the solution. Instead of trying to make every word feel lyrical, it can help to choose a single concrete world — salvage, wreckage, repair, underwater search — and let the oddest word simply belong there. In other words: when the constraints are awkward, do less explaining and more anchoring. Give the reader one firm place to stand, and the strange words start to work for you instead of against you.