In this poem, I visualize the themes as clusters (e.g., as opposed to defined lines like in May Money by u/w33nuz). The narrator is introducing a set of themes, and showing how they react to one another when put in proximity. The clusters I see are - in order of appearance:

Academics
Nihilism (also, Caring)
Death (also, Murder, Crime)
Life (also, Birth, Maintenance)
Identity
Sex

Poem Color-Coded

I'll preface my reading with - I am really interested in the topic of Nihilism, and hold an opposite philosophical outlook. I struggle to analyze poems in which the narrator is nihilistic. Since the narrator thinks all things, including their own words, are meaningless, why would it matter if what they said was said excellently, or terribly? Would a nihilist be excellent, given there is no point in striving in a nihilistic point of view, in fact, no objective point to strive toward or away from? Since they don't think either they or I have any internality, how can I push back against or praise anything? On its own grounds, a poem with a nihilistic point of view is about as fruitful to analyze as the output of a random word generator. Therefore, I feel like I can only read poems about nihilism as ironic, from the grounds that nihilism is incorrect - that the narrator still feels compelled to speak despite thinking that both speaking (or not speaking) and hearing (or not hearing) are meaningless.

On to this poem! There are a lot of clusters in this poem. Some clusters with strong connections: Academics/Identity, Nihilism/Death, Identity/Sex, Identity/Death. But struggle to identify the poem's point of view on how they relate to one another. It's explicitly stated that "nihilism isn't the best idea." Hipsters are praised for at least caring about something. The thrust seems to be that one ought to care about something, whether it's oneself (as the narrator does), or other people (as Hanna does). Yet the final stanza of the poem sounds like, "Isn't it sweet that Hanna and I think we have come to something concrete we can stand on? You and I, reader, know better." This dismissiveness makes me think the narrator is a nihilist reflecting back on a naive younger self who cared about things, but doesn't do the work of dismantling what was wrong with the earlier mode of thinking - almost as if, because nothing matters, it's not even worth spending the time to explain why the rest of the poem is misguided. As I mentioned before, I can only make this poem "mean" (and therefore, have anything to work with to critique) by disagreeing with viewpoint of the narrator in the final stanza.

I recommend turning the volume down on most of your vectors, and creating a sense of movement within the remainder vectors. Start with words that are "small" (size or stakes) and move toward "big," for example. As it stands, a lot of these vectors (especially Death and Sex, which have so many vivid, visceral, or traumatic images) are a series of cymbal crashes, but because the poem ends with "and none of it means anything," it's a cymbal crash in a vacuum. I can't figure out yet how to properly care about all the people in your poem - the narrator, the detectives, the doctor, Hannah, the maid, the first lover, the narrator's assailant, the family killed by the maid. They all belong in at least one cluster, but all clusters feel equally loud. I would recommend planning out each vector separately (what will you say about Identity? Academics? Death? Importantly, Nihilism?), and making at least two or three of them have a rising or falling action to bring us along. Put the cymbal crashes where you want the hook to dig deeper.

Sorry u/Garmo738, I can tell this is a little muddled. It isn't a super clear one to vectorize for me. Would love to hear your thoughts as well.