"Recognition" begins with the speaker admitting that her life hasn't exactly turned out the way she'd hoped. "Things" have gotten away from her, she says, adding that she's "let" herself "go." In other words, she's stopped looking after her appearance. The "Things" that have gotten away from the speaker thus seem, in part, related to her looks and/or health.
The speaker then suddenly jumps to talking about her children:
Children? I've had three
and don't even know them.
These three children, it seems, are more "things" that have gotten away from the speaker. Either she's literally not close with them or she doesn't "know" them in a deeper, more philosophical sense. The enjambment between lines 3 and 4 makes the revelation that the speaker doesn't know her children feel all the more sudden and abrupt.
Also note the diacope of the word "know" in lines 2 and 4: the speaker "know[s]" that she has stopped caring for her body, but she doesn't "know" her own children. This repetition might suggest that she's given up trying to look good because she doesn't feel good—that her unhappiness about her relationships has affected her ability to take care of herself.
The poem is written in free verse, allowing the reader to feel as if they're actually right there inside the speaker's head, listening to her interior monologue.
That said, the poem is still musical. Notice the way that long /o/ assonance ("go," "know," "don't") lends rhythm and intensity to these opening lines, for example, as does the subtle internal slant rhyme between "Children" and "know them."
The short, regular quatrains (four-line stanzas) also give the poem a certain predictability even as the speaker's thoughts shift around. This steady stanza form might evoke the way a person's life may look totally normal on the surface even as, internally, they're deeply out of sorts.