"But!" she said:

People who see a clean, trash-free river are more likely support laws to curb more harmful "systemic" forms of pollution. People who participate in river cleanups take pride in their work--their river!--and become evangelists for protecting it.

But he also,

Throws fits when things don't go his way. Not a "I'm a bad bitch" destroying everything-type fit, but tossing a trash can, breaking a screen-type fit.

Cries. A lot.

Pleads. He begs.

Doesn't answer the call to action.

Shows weakness. Being a coward and being fearful are two things he defines himself with.

Doesn't end up with the girl. In fact, that girl isn't even interested and he isn't, either.

Cherishes friendship over a romantic plot or something stereotypically brave like, "I'm going to save Rocky so I can save his world." No, he wants to save his friend, first and foremost.

Squeaks. He squeals. He screams, loudly and very high pitched. He whines. He complains. He physically struggles to open a jar. He's clumsy as hell. He makes some of the least graceful noises one can make.

Is not afraid to be the primitive species lowkey.

Grace was put into coma by the people who cared about him. They (especially Yáo being Yáo) probably double-triple-quadruple checked everything. They watched him sleep for those first few days — I doubt they went into coma immediately after leaving Earth's orbit. They probably talked to him, assuring him that he'll be okay.

Ilyukhina's coma procedure was probably supervised by Yáo. He made sure that everything was in order, but — he is just one man and he is not a doctor. There was much more room for mistakes.

When Yáo went to sleep, he was alone. He had to rely on the technology completely.

They send someone to stop the experiment but Grace refuses cause they’re so far in already and well that would just ruin the data.

“Grace says he would like half of dome to be water.”

“Oh, is necessary for humans to have large amounts of water question?”

Small Eridian equivalent of a sigh. “No. Not needed for life. In fact Grace will die if he falls in water and does not get out.”

“Tell him we give him water in containers that won't kill him. Lots lots lots of water on Erid for Grace to drink.”

“No. Grace say he want water on ground. Also want it with excess sodium chloride compound so it will be unhealthy for drink.”

This is one of those non-poem things that are among my favorite poems.

As the OP stated, the use of alliterative consonants is aesthetically just great, especially the placement of the strongest use at the end: “fuck him on the floor.” The use of “chintz” is indeed great word choice.

Because I’m insane, decided to scan the poem:

Not only is the second sentence, indeed, perfect iambic pentameter, the entire poem is perfectly metered, though the first sentence has four iambs rather than five.

There are further things I love about this poem, though: I like the casual connotations of “keep it real” juxtaposed with “chintz.” It causes me to interpret the “chintz” more strongly as meaning something fake, a facade. There is also of course the coarseness of “fuck,” which is a contrast with “chintz” but a different kind of contrast, gutsy and carnal where “chintz” is flimsy and inanimate.

And then there is the storytelling: there is SO MUCH storytelling in just these two lines. To break it down: The speaker is having sex with a married man, in the house he shares with his wife, which is “filled with chintz”—something that here connotes fakeness, in contrast with “keep it real.”

The illicit encounter in the poem takes place within a house filled with facade, the flimsy construction of the wife’s marriage and domestic sphere, but the encounter itself is a taste of something “real.” That’s a story, and it’s just two lines.

This is EIGHTEEN SYLLABLES, y’all. The amount of meaning condensed into these eighteen syllables is stunning, and it is so elegantly done.