Three times the speaker admits to being "a little indecisive," and three times insists that "it's an easy choice." Those two claims don't sit comfortably in the same stanza, and the clash drives "Nope." On the surface the poem is about dithering. Underneath, it is about the moment you stop pretending a decision is hard.
The structure lets the contradiction grow. Each stanza opens with two "X or Y" questions and closes on the same refrain, but the choices get heavier. The first stanza is almost a game: "apples or oranges / pink or blue." These are questions of taste, though "apples or oranges" also recalls the idiom about things too different to compare, and "pink or blue" may hint at the labels we are handed early in life. In the second stanza the stakes move to school and smoking, and "say no" has the ring of a health-class slogan. By the third stanza the choices are personal. "Stay with you or not?" brings in a "you" for the first time, and for the first time one option goes unnamed. "Or not" is a blank, as if the speaker can't put the alternative into words. The question marks also appear only here. The earlier stanzas ask without punctuating, and the poem starts to sound like it is really asking once the question is real.
"Forgive or forget?" is the most interesting line. We usually hear the two verbs joined as "forgive and forget." Splitting them with "or" turns a cliché into a genuine dilemma, since it is quite possible to do one without the other.
The refrain keeps its words and changes its meaning. After apples and oranges, "it's an easy choice" is believable, even a bit funny. After "stay with you or not?" it sounds like someone repeating a line to convince themselves. The understatement of "a little indecisive" works the same way: the hedge is too small for what is being hedged.
The sound of the poem supports this. There is no conventional rhyme. The only recurring end sound is "choice," and since it is the same word each time, the poem "rhymes" by insisting. The short, lowercase lines with almost no punctuation read like something typed quickly and casually. That offhand tone makes the third stanza land harder, because the voice is trying so hard to sound unbothered.
Then comes the break. "yeah you're right" sits alone, the only line that answers another voice. Who "you" is stays open. It could be the person from the third stanza, or whoever has been saying all along that the choice is simple. The title's guillemets, in «easy choice», make the phrase look like a quotation, as if someone else said it first. The speaker has been arguing with it and now gives in.
The last line is the same sentence, changed. "It is an easy choice" drops the contraction and ends with a full stop, the first one in the poem. The earlier refrains were hurried and open-ended, and this one is slow and settled. The words haven't changed, but the tone has gone from defensive to resolved. Read this way, the title "Nope" is the answer to the last question the speaker asked, "stay with you or not?" That is an inference, but the poem points toward it.
What makes the poem worth reading is how much it does with so little. It has almost no imagery beyond fruit and two colors, and it relies on repetition, line breaks and punctuation to carry a whole emotional arc. It also says something true about decisions. A choice can be easy because it doesn't hurt, or because part of you has known the answer all along. Only after the speaker has run through apples, school, smoking and forgiveness does "easy" start to mean the second thing.