The boldest move in "fallen" is also the simplest: it takes a phrase everyone uses without thinking and treats it as literal. "Falling in love" is a cliché, but here the speaker actually falls, into a pit, onto nails, into a hole, and the poem keeps that physical logic going to the last line. Its central idea is that love was advertised as joy ("The way they described it seemed so joyous") and delivered as injury, yet the wish to trust someone survives anyway.
The opening sets the voice. "I did this really stupid thing called falling in love" sounds like a confession to a friend, half-joking to stay one step ahead of the hurt. The aside that "Peoples parents do it all the time" suggests love as something adults describe from the outside with a rosy script, leaving the speaker to find the truth alone. Then the joking drops away. "I fell in love" gets a line to itself, flat and blunt, and the next line states the grievance: "the person I fell for didn't catch me."
There is no rhyme and no steady meter. Lines swell and shrink with the thought. The betrayals are told in short, plain sentences with the other person as subject: "They dropped me," "They ripped my heart out," "They trashed it." They read like an incident report, as if decoration would be too much. Near the end, the long line weighing whether to "fix the peices and give it to them once more or … allow my memories of them to fade" runs on without a pause, which is how indecision feels. Then the lines shorten to "Allowing them fix it / Keep it / And cherish it." The repeated "it" at the end of each line is the nearest the poem comes to music, and it lands like a breath settling.
The imagery is built around labels and disguises. The nails are "labeled loneliness," as if pain came packaged with a tag. Later the broken glass has "heart written all over them in sharpie." Sharpie is the ink of school bags and notebook doodles, and anyone can scrawl "heart" on a dangerous surface. Writing it there does not make it safe. The two images together say that feelings can be named accurately, but people can also be labeled falsely. The "pit of disparity" may be a slip for "despair," but the word fits either way. Disparity means imbalance, and the whole poem describes one person giving far more than the other.
The most unsettling moment is the embrace. "They held me tight and rested their hand over my heart / I felt something dig into me / And realized it was them." The vague "something" turns into "them" only in the last half-line, so comfort becomes attack before the speaker can react. The cruelty that follows is specific: the heart is torn out "When they Found Out It was Broken." The odd capitals stress the moment of discovery. Earlier, the speaker guesses that "my emotions were to heavy," so the pattern is clear. The speaker blames themselves for being dropped, and the other person treats that damage as a defect rather than a reason for care.
The ending refuses both easy options. The speaker does not take revenge, and does not pretend nothing happened. Forgetting is described as sleep, "Just for a little while / Till it's time to once again wake," which makes it rest rather than surrender. The final "someone" quietly widens the hope beyond the person who did the damage. The last words, "cherish it," answer the earlier "trashed it" and name what the speaker actually wants, which is to be kept, not just caught.
Judging by its rough edges, such as the missing words, "peices," and the uneven capitals, the poem seems unrevised. That gives it a confiding quality. We hear someone in the middle of the thought, not someone who has already learned the lesson. Its significance lies there. It takes a very common experience, a first deep hurt, and renews it with a fresh, concrete image: the heart as a fragile object passed between hands, repaired and offered again, or at last cherished.