Haiku 1 is ominous, but it's never clear what the threat looming in the wings is. The mystery works well to heighten the mood, because not knowing can be scarier than the devil you know. You might want to rework the first line into something less metaphorical, drawing on the haiku tradition of concrete natural imagery. "Darkest night" can come off as a little overblown.
Haiku 2 is a brilliant inversion of traditional images. Usually, darkness is seen as threatening the light, but here you have moonlight drowning the darkness. I really like how the first two lines build up a shiny happy concrete image, but the last line brutally twists it to aggression.
Tanka 1 punches the reader right in the guts with its apocalyptic metaphors of abuse, and then teases out a silver thread of endurance and survival at the very end. This is a powerful poem, and I can't think of a single thing to change.
Tanka 2 is a chilling depiction of failure to communicate. The image of words falling away without ever reaching a receptive ear is a strong one. I found the ending alienating, since it abruptly thrusts the reader into the role of the person who isn't listening. This may well be the impact you wanted, since alienation fits in very well with the theme of a communication breakdown. It's definitely uncomfortable reading. It seemed a little weird to be addressed as "darling" out of the blue though. Maybe give it a title that prepares the reader for being directly addressed that way?