Since the complaints about this piece's failure to follow the well understood traditions of the sonnet - note plural, and therefore not absolutely fixed - are heavily outnumbered by those who seem to rejoice in its disregard of the form, what on earth is getting you so exercised, Nemo? From the word "tsunami" on, this is an intemperate rant filled with derogatory phrasings.
Whatever the form followed or neglected in this poem, it remains a very slight set of observations which may be evocative to some but, like all such 'memory' pieces, risks being fleetingly identifiable, if at all, to others. Not, of course, a reason to avoid such poems which will always have some charms for some people - but not a very grand ground on which to stand when slighting a traditional form, especially when this is supposed to be the focus of the exercise.
As to the, now thoroughly, 'dated' call to the 'new', I was just reading Pushkin's "Onegin" and enjoying (in the translation available to me) the reflection that there was "nothing new within the new".
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