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The poem ties class and race together by naming small everyday hells where industrial waste and denied work harden into a social boundary.

Though fragmentary, the lines are pointed and bitter. "Middle Class Color Line" suggests that respectability is built on someone else's poisoned ground, and the racial slur lands as evidence of how casually that order speaks about the people it harms. The broken phrasing around work makes exclusion itself feel damaged and ongoing.

'Middle Class Color Line': pockets of hell, when oil waste meant 'nigger town' and not the right to work.

The poem's register is intentionally uncomfortable — the slur is kept because the historical phrase it quotes is what the poem is naming. That fidelity is the poem's strongest and riskiest move; it refuses to soften the language of the era being critiqued. The phrase 'pockets of hell' does the rest of the work, localizing the geography of racial hierarchy to small, specific towns.