This is an interesting constraint because COUCH can easily go inert. It names a familiar object, but in haiku that kind of ordinary noun can flatten the last line unless the poem gives it pressure, contrast, or surprise. Mick’s “FAINT truth? PROVE me wrong! / HOKUM? The COUGH claim is real — / Your COUCH is toxic!” is a good example of making the target word do real work: the constraint is embedded in an argument, so COUCH arrives as diagnosis and payoff at once. Across the set, the stronger poems avoid treating the word as furniture alone. They turn it into comfort, laziness, domestic interruption, political slogan, or hidden danger, which helps the prompt feel active inside the poem.