The speaker opens with a blunt rejection: to hell with simplicity, bareness and anything stripped down. She is tired of explanations that shrink the world, like the heart as a mere pump, the sun as a nuclear reactor, love as only hormones. In their place she wants a life that is crowded, layered and almost too much to take in.
Most of the poem is a list of images that show what she means. Voices sing from a hundred balconies, rock holds the history of oceans, and a church sits on top of older temples and tombs. She also brings in her own cluttered study, full of dolls, angels and rubber chickens, and a huge old family house packed with inherited objects, secrets and tattered slippers.
The mood is lively, funny and warm, with a stubborn edge at the start. The piling-up of details mirrors her argument: a good life, she suggests, is built up over time, messy and rich, and holds mystery as well as fact.