Most poems about eating disorders stay inside the sufferer's head. "eating disorder," signed by french kisser, begins there and then does something more unsettling: it slowly pushes the sufferer out of her own poem. The first stanza is entirely first person: "i look into the mirror with disgust / nothing pleases me / i want to throw up." After that, the "i" never returns. The girl becomes "her" and "she," and by the end she is "gone now." Whether or not the poet planned it, the grammar acts out the subject. The self shrinks until it can no longer speak.
The central idea is that this death has culprits. The poem argues that an eating disorder is not simply a private illness but something done to a girl by the world around her. The second stanza makes the point with a bitter generalisation, "that's every girl's dream in this society," and then puts "be what they want" in quotation marks, as if holding the phrase at arm's length. The poem's anger is directed at an audience that failed her: "maybe they should've told her no," "you should've told her it was okay to eat." The repeated "should've" is the grammar of regret, always arriving too late.
Structurally the poem is simple on purpose. It is free verse with no rhyme, no punctuation and no capital letters. The short lines read like blunt statements, and the lowercase gives the piece the feel of something written fast and uncensored. The rhythm comes from repetition rather than metre. "i want" opens the first stanza, "she hates... she finds... she finds" drives the fifth, and "thanks to" runs through the middle. These repeated openings pile up like a list of charges. "Thanks to you" is the sharpest of them, because gratitude turned into sarcasm is one of the oldest ways of accusing someone.
The imagery is physical and unflinching. "to rip the inside of her throat" is the poem's most violent moment, and the plain verb "rip" refuses to soften it. Food is "never passing her lips," so the girl is defined by what she refuses to let in. "Walking zombie" is a familiar phrase, but it fits the idea of someone still moving after the life has gone out of her. The word "wasting" appears twice, "waste away to nothing" early on and "this girl was wasting away" near the end, so the outcome is announced before it arrives. The cold phrase "healthy size deteriorated to death" is a little awkward, but the awkwardness works. It turns a person into a measurement, which is exactly what the poem accuses society of doing.
The most interesting moves come in the pronouns. "They" begins as a vague crowd, then becomes "you," then "them," and finally resolves into the poem's last, halting lines: "for they being society / for they being monsters who owned her." The broken syntax sounds like a speaker struggling to name the enemy and then settling on the harshest word available. "Owned" matters too. It suggests that the girl's body was never really hers, that she was possessed before she disappeared.
The poem also contains a small tension. It blames "stereotypical ways" and society, yet it admits "her weakened mind." So the girl is both a victim of outside pressure and a casualty of her own thinking, and the poem does not fully reconcile the two. Read generously, that is honest, because the pressure becomes a voice inside her. The mirror in the first stanza suggests as much. The harsh judgment looks like her own, but the poem implies she learned it from elsewhere.
What makes the poem significant is its refusal to be tidy. It has no consoling ending, no recovery and no image of hope. The final stanza is a verdict, and the poem treats the death as preventable. Its plain, immediate language and its single idea, that a girl's disappearance is a social event and not only a personal one, make it easy to understand and hard to shrug off. A reader may find the diction rough in places, but the roughness suits a piece that is grieving and angry rather than polished.