This is an interesting draft. If you want to leave it here, it could work well for you. Are you interested in taking it further by, for example, turning it into a dialogue poem. These sorts of things were more frequent in the middle ages, but they're still an interesting possibility — should you feel drawn to the possibility — of giving a voice in your poem for both the speaker and the Other, the voice which gets the speaker so rattled. It'd give you a chance to fill out both sides of the dialogue instead of simply giving voice to the frightened Speaker.
It's possible to use the second voice either as part of the same poem or as a second poem written in response.
It's also one of the ways that you can use a poem to help explore some of the things that you're busy feeling your way through at the time, and not getting bullied about by some of those more powerful cross currents that we can run across from time to time by listening to them, giving them a voice and allowing other parts of ourselves, as you so coirrectly point out, to talk back to them.
Great and energetic piece.
What's you're thinking about the center-justifying of the lines, by the way? I've tried writing that way from time to time, but it always seems to make my stuff more difficult on the eyes, and easier to put down for my readers. Are you experimenting with it, do you find it useful or what? I've gotten boring in my old age, and left justified my stuff, simply because it feels more accessable. I've gone back and forth on capitalizing the first word in my lines — I don't do it any more, but I did for years. Now I tend to write out the word "and" instead of using the ampersand ("&") which I used to love.
Curiously, Bob Kaven